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About the Museum
The Foundation is an exceptional example of transmitting the Fenosa legacy.
In the museum we respectfully integrate a living “acupuncture” museography that allows us to modify conceptual relationships and spatial arrangements. For this, premises of historical memory, sustainable management and recycling are being used.
MISSION, VISION AND VALUES
Investigate the works in the collection, its objects, archives, databases and the specialized documentation center.
Deepen knowledge of the collection to serve as a basis for exhibitions, activities and publications.
Promote this study by the community of researchers, collaborating with other museums, universities and research centers in prestigious programs linked to their funds, with its headquarters being a place of creation, welcome and hospitality following the will of the Fenosa family.
The vision is to be a reference in the international cultural panorama and occupy a place in the collective imagination by positioning our heritage in it.
The values: excellence, inclusion, equality and commitment to the sustainability of both the museum and its environmental impact.
History
The museum, inaugurated on July 12, 2002, is located in a 16th century Renaissance-style building.
The building was the summer home-workshop of Nicole Florensa and Apel·les Fenosa, who acquired it in 1958. The premises of the Apel·les Fenosa Foundation conserve both the permanent collection and the different rooms where the Fenosa family spent their time. summers, which have remained intact, as well as its interior garden.
The cultural complex is made up of a section of the old wall, the Corraló de Cal Cintet tower, the Renaissance palace with three floors and the interior garden.
The building is classified as a cultural asset of national interest (BCIN). It is L-shaped, highlighting both its two exterior facades on Major and Portal streets – dedicated to Maria Anna Guimerà – and its view from inside the garden where the volume of the tower can be appreciated.
The collections include a selection of the original sculptures in clay, plaster and bronze, as well as explanations of the casting process. It also has a garden with large-format sculptures, some of the artist’s most notable.
At the end of 2014, two years after the death of his widow, Nicole Florensa, and after the procedures with the French authorities, the sculptor’s legacy was received, from his residence in Paris.
The legacy is complemented by an exceptional documentary and photographic collection of artists and writers from the avant-garde movements of the 20th century, objects and elements from the memory of the Spanish Civil War and the exile from France, or places like Japan.
The house
The building was built during the 16th century next to one of the portals that was part of the walled enclosure of El Vendrell and is the oldest civil building in the town. Throughout its history it has been the residence of the different family sagas that owned the manor house, but it also housed notary or school functions in relation to the periods linked to the biographies of its notable inhabitants.
Also noteworthy are the “Golden Years” that began in 1958, the date of the formal acquisition of the house by Apel·les Fenosa. Then the place became the summer home and workshop of the Fenosa Florensa family for more than 30 years.
1518-1773. NIN’S FAMILY
Knighted, Bernat Nin Morató incorporated the Nin family shield into the Portal arch, which has been preserved to the present. In 1527 Bernat sold the house to his son, Lluís Nin, who built the Portal tower as it is now.
It is a Renaissance palace with decorations in reliefs and the room over the Portal was called the “Chamber of the Patrons”, since the captains of the ships that stopped on the coast stayed there.
At the end of the 17th century Raimunda Nin married Ramon Congost, a notary public of Barcelona, active between 1668 and 1713, who became owner of the house.
After Ramon’s death, Raimunda transfers the property to her daughter Maria, and her son Josep, an honest citizen of Barcelona, files a property suit.
Between the years 1732-1739, while the work on the new church of El Vendrell was taking place, the house served as a church.
In a capbreu of 1761 the house appears as partly owned by Fèlix Serra and shared as a cavalry barracks.
Gertrudis Serra Trillas married the French consul in Barcelona, Jean-Baptiste Aubert, who became the owner of the house between 1773 and 1793.
The sgraffito on the building’s façades date back to 1786 and have recently been restored thanks to a Feder grant, a grant from the Department of Culture of the Generalitat of Catalonia and the El Vendrell City Council.
The Sgraffito from 18th Century
Between 1793 and 1957, the building became the property of the Guimerà family.
Inherited by Maria Anna Guimerà (1865-1953), a senior teacher, she directed the Iberian School in the premises of the house, with elementary and higher education for boys and girls, teaching French, Catalan and music classes. In 1895 she married the notary Emili Folch Andreu (1972-1949), also a property registrar, attorney and deputy. One of her three daughters, Matilde, sold the house to the Fenosa family in 1958.
A whole new stage will begin when the sculptor Apel·les Fenosa and his wife Nicole Florensa acquire the property.
Parisian artists dreamed of the light of the Mediterranean and aspired to have a summer residence. This house renewed Fenosa’s sculpture, but also his life. As the building was very spacious and had many rooms, the idea of marriage was based on sharing it with his friends from the first moment. The first guests were Tristan Tzara (co-founder of Dadaism), the English Patience Gray and Irving Davis, the Japanese artists who had met Fenosa in Paris (Ebihara, Kyoko Mizui or Key Sato) and also the Russians from Montparnasse (Robert Pikelny). Likewise, friendships that would transcend years: Michel Cournot, Nella Bielski, Ursula Schroeder, Cécile Éluard (daughter of the poet Paul Éluard and Gala Diakonova), the pianist Evelyne Dubourg or the gallery owner Henriette Gomes.
Little by little, friends begin to buy houses to be closer to the sculptor, such as the D’Albis family (from the Limoges porcelain factories), the anthropologist Robert Jaulin, the antiquarian bookseller Joan Gili, the writer Joan Perucho, the notary Julio Lacambra, the engravers Antoni Ollé Pinell and Jaume Pla.
More information: Portal Fenosa. Author: Raimon Carrasco.
The Museum
After acquiring this historic residence in 1958, the Fenosa Florensa couple gradually restored it to use it as workshop space and turned it into a welcoming place for international artists and intellectuals. Apel·les Fenosa (1899-1988) produced a relevant work with hundreds of large and small sculptures, drawings and engravings. His sculptures evolved in several stages that range from figurative to anthropomorphic and result in a personal abstraction of bodies and stories.
The museum, located on the ground floor, presents its permanent collection in an organic route that adapts to the formats of conservation and content analysis.
Our museography is continuous R&D based on environmental sustainability and respect for the house and its history.
We keep the original works in clay and plaster arranged in adjoining rooms as devised by Fenosa’s widow, the artist Nicole Florensa (1925-2012).
The permanent collection is located in three rooms – two of which would correspond to the access to the old Corraló de Cal Cintet tower – which present the works according to size and chronology. The monumental bronze pieces are located between the hallway and the interior garden.
Case studies and thematic exhibitions are presented in the temporary exhibition rooms, which are complemented by more contemporary dialogues in spaces such as the Cup.
It is also possible to discover from the Mirador the sculpture garden, the Gothic Room, the Chapel and the Blue Porch, used by artists during their summer stays between Paris and El Vendrell.
Apel·les Fenosa
Born in Barcelona in 1899, he settled in France in 1920. After a brief stay in Toulouse, he arrived in Paris in 1921. His meeting with Picasso would prove decisive in his dedication to sculpture. He will encourage him and buy works from him, becoming his first and main collector. In 1924 he held his first exhibition in Paris, prefaced in the catalog by the poet Max Jacob, who would also write the one for the Zborowski gallery four years later.
In 1929 Fenosa returned to Barcelona to organize an individual exhibition that took place in the Sala Parés. He lived with enthusiasm the proclamation of the Republic and with intensity the development of the Civil War.
His work preserving the artistic heritage of Catalonia and Aragon in the early days of the Civil War contributed, among others, to the safeguarding of the mural paintings of the Sijena monastery in 1936.
In 1939 he decided to go into exile and settled again in France.
In 1944 the Committee of Libération du Limousin commissioned him to create a sculpture commemorating the massacre of the inhabitants of Oradour-sur-Glane, in France. Fenosa creates the Monument aux Martyrs d’Oradour-sur-Glane, installed in Limoges since 1981 and which will be moved to its final location in Oradour-sur-Glane and inaugurated in 1999.
Since 1946 Fenosa has exhibited individually or collectively in Paris, London, Barcelona, Madrid, Prague, New York, Tokyo, Osaka, Casablanca, Carrara… Great contemporary writers and poets write prefaces to their catalogues, such as Paul Éluard, Jean Cocteau, Jules Supervielle, Josep Carner, Alexandre Cirici Pellicer, Francis Ponge, Pablo Neruda, Michel Cournot, Roger Caillois or Salvador Espriu.
He made sculptures of reduced dimensions, but also of monumental measures such as the Christ for the church of Christ-Roi in Friborg (1956-57), the Polyphème in Dole (1972), the Sphinx on the pediment of the door of the Constitutional Council of Paris ( 1973), the monument to Pau Casals in Barcelona (1976-77), the relief of Saint-Georges terrassant le dragon in Paris (1977), Orlando Furioso in Madrid and Montpellier (1971-73), Le Beau Temps pourchassant la Tempête, installed in 1985 in Barcelona and in La Défense in Paris; the Ophélia bas-relief, inspired by Rimbaud, inaugurated in La Défense (1987).
In 1981, UNESCO entrusted him with the annual Peace Education Prize. Fenosa makes L’Olivier, symbol of peace. In 1982 he received the Gold Medal from the Generalitat of Catalonia, followed by the Légion d’Honneur in 1983, awarded by the French Ministry of Culture, and in 1987 the Gold Medal from the city of Barcelona.
Important retrospectives of his career took place in Madrid in 1979, at the Rodin Museum in 1980, and in Barcelona in 1983-84 at the Palacio de la Virreina and in 1999 at the Museum of Modern Art.
He dies in Paris on March 25, 1988.
BIO in PDF:
Center for Research and Advanced Studies
The Centre for Research and Advanced Studies is equipped with the tools and spaces necessary to preserve and make available to the community the documentary collection, always with the idea of giving it value in the context of artistic and historical processes. It is a specialized service for independent researchers or in collaboration with other centers.
We are currently in the development phase of a cataloging and digitalization program, mainly of correspondence and the newspaper library.
The correspondence is being registered and inventoried and, with the collaboration of the “Servei de Conservació i Restauració de Béns Culturals” of the Tarragona Provincial Council, parameters of preventive conservation are being established.
The photographic archive of Nicole Florensa, with exceptional collections recorded by the author between the years 1949 to 1999, will begin to be cataloged from September 2024 thanks to “Ajuts per a l’inventari i la documentació dels béns culturals que integren els museus catalans 2024” of the Generalitat de Catalunya.
The Garden
The garden, of about 300 square meters, has the value of its age and maintains some of its essential elements. Its contemplation from the second floor, from the Blue Porch, is one of the main attractions for visitors.
In the garden, lemon trees or aromatic flowers coexist in perfect harmony with sculptures.
A representation of the large-format works, also present on a monumental scale in different European cities, integrates a unique universe outside of time.
A program to adapt the garden to the climate crisis is currently being developed, under the name “Dystopia-utopia: the garden as an example of sustainability and resilience.”
SCULPTURES IN THE GARDEN
POLYPHÈME (1949)
In a decisive episode of The Odyssey, Ulysses blinds Polyphemus, bursting his only eye, because the Cyclops keeps him prisoner in the cave. Equipped with open and disproportionate hands, Polyphemus, groping, feels the sheep within whose fur Ulysses has hidden so as not to be discovered.
TEMPÊTE POURCHASSÉE PAR LE BEAU TEMPS (1957)
It represents a woman who advances, swirled by the winds that ruffle her hair and make her clothes fly, turning her axis towards the good weather, knowing that, sooner or later, calm will come.
LE BEAU TEMPS POURCHASSANT LA TEMPÊTE (1978-1979)
With this monumental group Fenosa will close the cycle of “The victory of peace over war.”
ORLANDO FURIOSO (1971-1972)
For Fenosa, a great reader of Ariosto, Orlando is "a model of love and fidelity." Orlando looks for his beloved Angelica and, mad with pain for not being reciprocated, flees across France until he reaches the Pyrenees. The horse ends up dying of fatigue and Orlando carries it on his back and follows the path with it.
BEAU TEMPS (1978)
After the Spanish Civil War and the German occupation of France, Fenosa was concerned with representing Peace and War. She will thus create Beau Temps.
MÉTAMORPHOSE DES SOEURS DE PHAÉTON (1950)
The scene describes the moment in which Phaethon's sisters turn into trees under the gaze of their mother, who can do nothing to save them. Illustrates the passage from Ovid's Metamorphoses. Phaethon, after trying to show himself worthy of his lineage, asked Zeus to let him govern the chariot of the Sun. The experience proved careless and devastated the land. Zeus threw a lightning bolt at him that caused his death and his sisters buried him, despite Zeus's prohibition to do so. As punishment he turned them into trees.
LA PREMIÈRE (1970)
In a prologue for a Fenosa exhibition, the writer Michel Cournot explains a story according to which God modeled a female figure on the last day of creation, before resting. When he retires he does not find her, he has lost her and makes another one of her, Eva, until thousands of years later he finds her again in the Fenosa workshop, where the title of “The First” comes from.
PRIMAVERA (1973)
This sculpture belongs to Fenosa's cycle of metamorphic works, oscillating between woman and vegetation.
AGATHE (1976)
The work is inspired by Baudelaire's verses “Moesta et Errabunda” and is related to a previous work: Grande volute (1970)
Museu Apel·les Fenosa © Fundació Privada Apel·les Fenosa, 2024.