Welcome!
With this blog we are going to learn art with easy and funny methods
martes, 31 de diciembre de 2019
martes, 20 de agosto de 2019
MY 1ST / 2ND TIME IN SEGOVIA
Some months ago, We went to Segovia, a city with a lot of charm and unique things that you will not find anywhere else in the world.
We keep very good memories of these days as we were accompanied by great people, the first time by our great Italian partners and the second time by our fantastic friends and classmates.
*1ST TIME: HISTORIC CENTRE OF THE CITY (11th April 2019)*
The Roman Aqueduct:
As the aqueduct lacks a legible inscription (one was apparently located in the structure's attic, or top portion), the date of construction cannot be definitively determined. The general date of the Aqueduct's construction was long a mystery, although it was thought to have been during the 1st century AD, during the reigns of the Emperors Domitian, Nerva, and Trajan. At the end of the 20th century, Géza Alföldy deciphered the text on the dedication plaque by studying the anchors that held the now missing bronze letters in place. He determined that Emperor Domitian (AD 81-96) ordered its construction and the year 98 A.D. was proposed as the most likely date of completion. However, in 2016 evidence was published which points out to a slightly later date, by 112 AD.
The Fortress:
Rising out on a rocky crag above the confluence of two rivers near the Guadarrama mountains, it is one of the most distinctive castle-palaces in Spain by virtue of its shape – like the bow of a ship. The Alcázar was originally built as a fortress but has served as a royal palace, a state prison, a Royal Artillery College and a military academy since then. It is currently used as a museum and a military archives building.
The cathedral:
The massive cathedral was built between 1525-1577 in a late Gothic style, outdated elsewhere in Europe. The previous cathedral of Segovia had stood adjacent to the Alcazar, and had been used by the royal armies in defending the latter against siege. The rebellious Comuneros were intent on taking the Cathedral to protect its holy relics, and to use its position against the walls of the Alcazar in order to defeat its defenders. In a famous exchange, prominent city officials urged the comuneros to halt their attacks on the church.
As the aqueduct lacks a legible inscription (one was apparently located in the structure's attic, or top portion), the date of construction cannot be definitively determined. The general date of the Aqueduct's construction was long a mystery, although it was thought to have been during the 1st century AD, during the reigns of the Emperors Domitian, Nerva, and Trajan. At the end of the 20th century, Géza Alföldy deciphered the text on the dedication plaque by studying the anchors that held the now missing bronze letters in place. He determined that Emperor Domitian (AD 81-96) ordered its construction and the year 98 A.D. was proposed as the most likely date of completion. However, in 2016 evidence was published which points out to a slightly later date, by 112 AD.
The Fortress:
Rising out on a rocky crag above the confluence of two rivers near the Guadarrama mountains, it is one of the most distinctive castle-palaces in Spain by virtue of its shape – like the bow of a ship. The Alcázar was originally built as a fortress but has served as a royal palace, a state prison, a Royal Artillery College and a military academy since then. It is currently used as a museum and a military archives building.
The cathedral:
The massive cathedral was built between 1525-1577 in a late Gothic style, outdated elsewhere in Europe. The previous cathedral of Segovia had stood adjacent to the Alcazar, and had been used by the royal armies in defending the latter against siege. The rebellious Comuneros were intent on taking the Cathedral to protect its holy relics, and to use its position against the walls of the Alcazar in order to defeat its defenders. In a famous exchange, prominent city officials urged the comuneros to halt their attacks on the church.
*2ND TIME :REAL SITE OF SAINT ILDEFONSO (19th June 2019)*
The Royal Palace:
The area was a favourite hunting grounds for many Castilian kings, due to its location on the forested northern slopes of the Sierra de Guadarrama. In the 15th century, Henry IV of Castile built the first hunting lodge on the site, along with a small shrine dedicated to San Ildefonso (saint Ildephonsus of Toledo), which gave this place its first name. Isabella I of Castile granted both buildings to the monks of the Santa Maria del Parral monastery in Segovia, who built an almshouse and developed a granja (farm) alongside the lodge and shrine.
The Fountains:
All of the fountains represent themes from classical mythology, including Greek deities, allegories and scenes from myths. They are cast in lead to prevent corrosion, and painted over to simulate bronze, The original waterworks and piping are still functional. They rely purely on gravity to project water up the fountain jets, including to the 40 metres (130 ft) height of the "Fame" fountain. A reservoir, El Mar (the Sea), lies secluded at the highest point of the landscape park, and provides the supply and water pressure for the whole system. In the present day, only a few fountains are active on each day. Twice a year, on the feast days of San Fernando and of San Luis, all twenty-six fountains are set to jet and flow, providing memorable experiences.
The lighting of the groups of fountains alternate their days of operation, so that, depending on the month and the specific day you go, you will see some fountains work or others. They divide them in this way: Group 1: "Canastillo", "Frogs", "Baths of Diana" and "Fame". Group 2: "Horse Race", "Canastillo", "Frogs" and "Fame".
"Canastillo" fountain, my favourite one.
The Garden:
The garden with its tranquility, silence, singing of the bird... and with its magnificent centenary trees, other plants, and with labyrinths even, achieves to make you forget the problems and transport you to a totally magical place in the purest style "Alice in the wonderland".
The Labyrinth:
Be careful when you enter here, you can get lost! (Like us)
But it´s very funny.
The Lake:
In the enclosure of La Granja de San Ildefonso, far from the famous fountains, gardens and labyrinths, is the artificial lake called El Mar. This lake is located in the upper area of the enclosure, and we need about 15 minutes walking to reach it. It is used to supply the entire park with water, and thanks to the height achieved by its location sufficient water pressure is achieved for the irrigation system and operation of the fountains.
The Royal Palace:
The area was a favourite hunting grounds for many Castilian kings, due to its location on the forested northern slopes of the Sierra de Guadarrama. In the 15th century, Henry IV of Castile built the first hunting lodge on the site, along with a small shrine dedicated to San Ildefonso (saint Ildephonsus of Toledo), which gave this place its first name. Isabella I of Castile granted both buildings to the monks of the Santa Maria del Parral monastery in Segovia, who built an almshouse and developed a granja (farm) alongside the lodge and shrine.
The Fountains:
All of the fountains represent themes from classical mythology, including Greek deities, allegories and scenes from myths. They are cast in lead to prevent corrosion, and painted over to simulate bronze, The original waterworks and piping are still functional. They rely purely on gravity to project water up the fountain jets, including to the 40 metres (130 ft) height of the "Fame" fountain. A reservoir, El Mar (the Sea), lies secluded at the highest point of the landscape park, and provides the supply and water pressure for the whole system. In the present day, only a few fountains are active on each day. Twice a year, on the feast days of San Fernando and of San Luis, all twenty-six fountains are set to jet and flow, providing memorable experiences.
The lighting of the groups of fountains alternate their days of operation, so that, depending on the month and the specific day you go, you will see some fountains work or others. They divide them in this way: Group 1: "Canastillo", "Frogs", "Baths of Diana" and "Fame". Group 2: "Horse Race", "Canastillo", "Frogs" and "Fame".
"Baths of Diana" fountain.
"Fame" fountain.
There are more fountains but this are for me the top 3.
The Garden:
The garden with its tranquility, silence, singing of the bird... and with its magnificent centenary trees, other plants, and with labyrinths even, achieves to make you forget the problems and transport you to a totally magical place in the purest style "Alice in the wonderland".
The Labyrinth:
Be careful when you enter here, you can get lost! (Like us)
But it´s very funny.
The Lake:
In the enclosure of La Granja de San Ildefonso, far from the famous fountains, gardens and labyrinths, is the artificial lake called El Mar. This lake is located in the upper area of the enclosure, and we need about 15 minutes walking to reach it. It is used to supply the entire park with water, and thanks to the height achieved by its location sufficient water pressure is achieved for the irrigation system and operation of the fountains.
lunes, 19 de agosto de 2019
SALVADOR DALÍ´S MUSEUM
Last Friday I was passing through the Girona town of Figueres
and I couldn't miss the opportunity to go to the museum of the great Salvador Dalí.
In my opinion and I think in the opinion of the rest of the world he´s the king of the artistic style known as Surrealism, but he also used others artistic styles like Cubism at the beginning of his career.
This style is sure one of the most difficult to understand, but don´t worry, now we are going to try to learn it better.
Surrealism don´t follow any rule It´s mainly based on dreams the artists have to run away from the reality or the mixture of thoughts and ideas at a certain moment.
Here are some photos about the exterior of this particular building:
And here there are some photos about the interior:
I´m going to talk about the most famous ones found in the museum:
-LA PERSISTENCIA DE LA MEMORIA- o -LOS RELOJES BLANDOS- (1931)
(The real one is in the MoMA museum in New York, it's an exactly copy)
It is said that Dali drew this picture while was eating camembert cheese, (which was a very soft cheese) like the watches of the picture.
and I couldn't miss the opportunity to go to the museum of the great Salvador Dalí.
In my opinion and I think in the opinion of the rest of the world he´s the king of the artistic style known as Surrealism, but he also used others artistic styles like Cubism at the beginning of his career.
This style is sure one of the most difficult to understand, but don´t worry, now we are going to try to learn it better.
Surrealism don´t follow any rule It´s mainly based on dreams the artists have to run away from the reality or the mixture of thoughts and ideas at a certain moment.
Here are some photos about the exterior of this particular building:
And here there are some photos about the interior:
-LA PERSISTENCIA DE LA MEMORIA- o -LOS RELOJES BLANDOS- (1931)
(The real one is in the MoMA museum in New York, it's an exactly copy)
It is said that Dali drew this picture while was eating camembert cheese, (which was a very soft cheese) like the watches of the picture.
Clocks, like memory, have been softened by the passage of time. They are perfectly plausible watches that keep marking the time.
-EL ESPECTRO DEL SEX-APPEAL- (1934)
In the Dali´s Theatre-Museum
One of the most decisive characteristics of the work is the presence of a kind of crutches.
-AUTORRETRATO CON L'HUMANITÉ- (1923)
In the Dali´s Theatre-Museum
One of Dalí's first works was Self-Portrait with L 'Humanité, painted when the artist was barely 19 years old. It is part of the cubist period of the painter.
-GALATEA DE LAS ESFERAS- (1952)
In the Dali´s Theatre-Museum
Dalí's wife, the Russian Elena Diakonova, better known as Gala, was ten years older than the painter. Dalí composed a series of paintings in his honor, of which Galatea of the spheres is one of them. Painted in 1954, the painting accuses the painter's fascination with the decay theories of the atom.
*THE JEWEL PART OF THE MUSEUM*
He also made different jewels with precious metals and stones.
In my opinion I don´t know the rest this part is my favourite one of the museum of the artist.
When they tell you about the Dali jewelry museum, you think of rings, pendants, bracelets... but once you see it, to be impressed is little.
-EL OJO DEL TIEMPO- (1949)
Platinum; Natural rubies (corundum), irregular fragment rounded, polished; Diamonds, baguette size (rectangular), brilliant cut (round) and 8/8, 0.5 to 3.5 mm in diameter, approximately; Enamel (on the dial); Movado watch.
-EL LAGO DEL CISNE- (1959)
18 kt yellow gold (750 thousandths); Natural emeralds (beryl) (15), irregular, polished fragments; small raw crystals and small carved crystals (mounted upside down); Natural sapphire (corundum) (1), rectangular emerald size (modified); Aquamarine (beryl) (1), trapezoid size; Diamonds, baguette size, brilliant cut (round) and 8/8; Aquamarine (beryl), polished base plate of raw ore; Yellowish beryl, raw mineral from the bottom.
-LA CRUZ DEL ANGEL- (1960)
14 Kt yellow gold (583 thousandths) (stone mount); Platinum forming the spins; Natural citrine (quartz) (1), emerald (rectangular) size of approximately 78 x 62 x 46 mm; Diamonds, brilliant cut (round), approximately 1.0 to 2.7 mm in diameter; Red coral, branches forming the cross and extended by the base; Lapis lazuli, approximately 87 mm diameter ball, and irregular blocks of polished flat faces, at the base; Zinc sulphide (sphalerite) raw mineral, at the base; With the intervention of Salvador Dalí: Oil and liquid amber on virgin gold sculpture; With motor mechanism with reducer that acts by moving the spins.
14 Kt yellow gold (583 thousandths) (stone mount); Platinum forming the spins; Natural citrine (quartz) (1), emerald (rectangular) size of approximately 78 x 62 x 46 mm; Diamonds, brilliant cut (round), approximately 1.0 to 2.7 mm in diameter; Red coral, branches forming the cross and extended by the base; Lapis lazuli, approximately 87 mm diameter ball, and irregular blocks of polished flat faces, at the base; Zinc sulphide (sphalerite) raw mineral, at the base; With the intervention of Salvador Dalí: Oil and liquid amber on virgin gold sculpture; With motor mechanism with reducer that acts by moving the spins.
-EL ELEFANTE ESPACIAL- (1961)
18 kt yellow gold (750 thousandths); Natural emeralds (beryl) (3), drop size, approximately 10 to 18 mm; Natural rubies (corundum) (9), drop size, approximately 4 to 8 mm; Diamonds (2), approximately 2 mm in diameter; Aquamarine (beryl), raw material crystal, embossed and polished (on the elephant), approximately 18 x 6.5 x 4.5 cm; Aquamarine (beryl), large crystal of raw material forming the base, approximately 12 x 33 x 17 cm; Omega watch with reference 440.
-DAFNE- (1967)
18 kt yellow gold (750 thousandths); 14 Kt yellow gold (583 thousandths) (in the pearl part); Topaz (1), emerald size (rectangular), approximately 96 x 75 x 50 mm; Pearl (1), irregular (baroque), approximately 25 x 20 x 17 mm; Diamonds, brilliant cut (round), 3 mm in diameter, and baguette cut, approximately 2 to 3 mm; Natural emeralds (beryl), mixed size (round and perilla), approximately 2 to 4.5 mm; Polished sheet of fossilized wood, forming the bottom; With the intervention of Salvador Dalí: Oil on a "V" shaped gold plate.
18 kt yellow gold (750 thousandths); 14 Kt yellow gold (583 thousandths) (in the pearl part); Topaz (1), emerald size (rectangular), approximately 96 x 75 x 50 mm; Pearl (1), irregular (baroque), approximately 25 x 20 x 17 mm; Diamonds, brilliant cut (round), 3 mm in diameter, and baguette cut, approximately 2 to 3 mm; Natural emeralds (beryl), mixed size (round and perilla), approximately 2 to 4.5 mm; Polished sheet of fossilized wood, forming the bottom; With the intervention of Salvador Dalí: Oil on a "V" shaped gold plate.
-PAX VOBISCUM- (1968)
18 kt yellow gold (750 thousandths) (outside); Gold leaf (inside); Platinum forming the rays; Natural citrine (quartz) (1), fantasy size (heptagonal), approximately 80 x 58 x 43 mm; Peridots (olivines), mixed size (oval), 9 x 7 mm, on average; Diamonds, brilliant cut (round), approximately 1 to 3 mm in diameter; With the intervention of Salvador Dalí: Oil on wood panel, 1964; With motor mechanism with reducer that acts by moving the citrine: Synchron motor.
18 kt yellow gold (750 thousandths) (outside); Gold leaf (inside); Platinum forming the rays; Natural citrine (quartz) (1), fantasy size (heptagonal), approximately 80 x 58 x 43 mm; Peridots (olivines), mixed size (oval), 9 x 7 mm, on average; Diamonds, brilliant cut (round), approximately 1 to 3 mm in diameter; With the intervention of Salvador Dalí: Oil on wood panel, 1964; With motor mechanism with reducer that acts by moving the citrine: Synchron motor.
-DELFINES Y SIRENAS- (1969)
18 kt yellow gold (750 thousandths); Aquamarines (beryl), mixed size (oval), approximately 7 x 5 mm; Red coral, polished branches forming the figures; Diamonds, brilliant cut (round) and 8/8, (very small, in the teeth of dolphins and coral figures); Calcite, piece of raw material forming the bottom; Rock crystal (quartz), piece of raw material forming the base; Beryls (about 31 loose pieces), rounded and polished fragments, blue, green-blue, yellow and pink.
18 kt yellow gold (750 thousandths); Aquamarines (beryl), mixed size (oval), approximately 7 x 5 mm; Red coral, polished branches forming the figures; Diamonds, brilliant cut (round) and 8/8, (very small, in the teeth of dolphins and coral figures); Calcite, piece of raw material forming the bottom; Rock crystal (quartz), piece of raw material forming the base; Beryls (about 31 loose pieces), rounded and polished fragments, blue, green-blue, yellow and pink.
-LA FLOR PSICODÉLICA- (1970)
18 kt yellow gold (750 thousandths). On the floor; Suspended stones (92), mixed size (oval and round), from 8.0 to 11.0 mm, approximately; Blue stones: Natural sapphire (corundum), Natural spinel, Aquamarine (beryl); Yellow stones: Zircon; Pink stones: Spin it natural, Garnet; Red stones: Spin it natural, Garnet; In the pot: Natural spins (and some ruby), raw crystals; Lapis lazuli, polished plates; With motor mechanism with reducer that acts by rotating the plant: Synchron motor .
18 kt yellow gold (750 thousandths). On the floor; Suspended stones (92), mixed size (oval and round), from 8.0 to 11.0 mm, approximately; Blue stones: Natural sapphire (corundum), Natural spinel, Aquamarine (beryl); Yellow stones: Zircon; Pink stones: Spin it natural, Garnet; Red stones: Spin it natural, Garnet; In the pot: Natural spins (and some ruby), raw crystals; Lapis lazuli, polished plates; With motor mechanism with reducer that acts by rotating the plant: Synchron motor .
domingo, 18 de agosto de 2019
MY 1ST TIME IN BARCELONA
Last week I had the pleasure to visit the condal city of Barcelona.
This city started to change radically after the olympic games in 1992.
Before arrive I was so so nervous, because I had never been there.
I visited different great monuments, and now I´m going to explain their history one by one, so play attention because it´s very interesting.
1. BASÍLICA OF THE SAGRADA FAMILIA -Antoni Gaudí-
The origins of the Sagrada Familia date back to 1866, the year in which Josep Maria Bocabella i Verdaguer founded the Spiritual Association of Devotees of San José, which from 1874 promotes the construction of an expiatory temple dedicated to the Sagrada Family. This buiding is in a plot of land of 12,800 m² between the streets of Marina, Provença, Sardenya and Mallorca.
The first stone is laid on March 19, 1882, St. Joseph's Day.
2. CASA BATLLÓ -Antoni Gaudí-
This building was built in 1875, by Emilio Cortés Salas, but in 1903 Josep Batlló bought it, and commissioned the remodeling to Antoni Gaudí, that maked it the masterpiece that nowadays it is.
This building was built in 1875, by Emilio Cortés Salas, but in 1903 Josep Batlló bought it, and commissioned the remodeling to Antoni Gaudí, that maked it the masterpiece that nowadays it is.
3. CASA MILÀ -Antoni Gaudí-
In 1905 Pere Milà and Roser Segimon get married. Attracted by the fame of the Gràcia promenade, they buy a buiding with an area of 1,835 square meters and commission the architect Antoni Gaudí to build his new residence.The construction was complex, with financial and legal problems, and was not Policy free. The part of the loft and the roof exceeded the maximum allowed. Finally, the Eixample Commission certified that the building was monumental and should not strictly comply with municipal ordinances, although the Milà had to pay a fine of 100,000 ptas. to legalize it. The Mila couple discussed with Gaudí for their fees until they reached the courts. Gaudí won the lawsuit and Roser Segimon had to mortgage Casa Mila to pay the 105,000 ptas to the architect, who donated to a nunnery.
In 1905 Pere Milà and Roser Segimon get married. Attracted by the fame of the Gràcia promenade, they buy a buiding with an area of 1,835 square meters and commission the architect Antoni Gaudí to build his new residence.The construction was complex, with financial and legal problems, and was not Policy free. The part of the loft and the roof exceeded the maximum allowed. Finally, the Eixample Commission certified that the building was monumental and should not strictly comply with municipal ordinances, although the Milà had to pay a fine of 100,000 ptas. to legalize it. The Mila couple discussed with Gaudí for their fees until they reached the courts. Gaudí won the lawsuit and Roser Segimon had to mortgage Casa Mila to pay the 105,000 ptas to the architect, who donated to a nunnery.
4. PARC GÜELL -Antoni Gaudí-
It is a public park with gardens and architectural elements located in the upper part of the city. It is located on the southern slope of Mount Carmel. Güell Park is a reflection of Gaudí's artistic fullness: it belongs to his naturalist stage (first decade of the twentieth century), a period in which the architect perfected his personal style, through inspiration in the organic forms of nature, to what put into practice a whole series of new structural solutions originated in its deep analysis of ruled geometry. To this the Catalan artist adds a great creative freedom and an imaginative ornamental creation: starting from a certain baroque style his works acquire great structural wealth, of forms and volumes devoid of rationalist rigidity or of any classical premise.1 In the Güell park, Gaudí deployed everything his architectural genius and put into practice many of his innovative structural solutions that would be emblematic of his organicist style and that would culminate in the Sagrada Familia.
It is a public park with gardens and architectural elements located in the upper part of the city. It is located on the southern slope of Mount Carmel. Güell Park is a reflection of Gaudí's artistic fullness: it belongs to his naturalist stage (first decade of the twentieth century), a period in which the architect perfected his personal style, through inspiration in the organic forms of nature, to what put into practice a whole series of new structural solutions originated in its deep analysis of ruled geometry. To this the Catalan artist adds a great creative freedom and an imaginative ornamental creation: starting from a certain baroque style his works acquire great structural wealth, of forms and volumes devoid of rationalist rigidity or of any classical premise.1 In the Güell park, Gaudí deployed everything his architectural genius and put into practice many of his innovative structural solutions that would be emblematic of his organicist style and that would culminate in the Sagrada Familia.
5. PARC DE LA CIUTADELLA -Josep Fontserè-
He designed beautiful gardens that served as a lung for the city. A place of recreation inspired by the French, English and Italian gardens, paying special attention to the Luxembourg Gardens.
Gaudí also collaborated on the project, was responsible for carrying out the Monumental Waterfall, (for the hydraulic part of the fountain, as well as the design of the artificial cave that runs below the waterfall).
Today, buildings belonging to the time of the Exhibition such as the Castle of the Three Dragons are still preserved,Today it is one of the largest parks in Barcelona. In its facilities is the Zoo of Barcelona, in addition to the old fortifications that belonged to the Citadel such as the chapel, the governor's palace and the arsenal, in addition to all the sculptures and buildings created for the 1888 Exhibition, such as the Umbráculo, Hivernáculo, Museum of Geology and that of Zoology.
6. CATHEDRAL OF SANTA CRUZ AND SANTA EULALIA -Oriol Mestres y Font Carreras-
Example of Gothic Style of the 14th Century
Example of Gothic Style of the 14th Century
On top of the foundations of the early Paleochristian basilica, and the later Romanesque Cathedral, the current Gothic Cathedral was built. The works began on May 1, 1298,
We can distinguish three stages during the 150 years that the works lasted: in the first one the entire building was planned and the construction of the apse with the radial chapels, the presbytery with its altar and the crypt, and the one of the false cruise was carried out ; then the three ships with their respective side chapels were extended to the height after the choir; finally the construction of the basilica was continued until the line of the facade that was subsequently closed with a simple wall (1417). The cloister was completed in 1448.
At the end of the 19th century, Barcelona's industrialist Manuel Girona Agrafel offered to cover the work of the facade and its two lateral towers that was carried out according to the plans of the architect Oriol Mestres inspired by the initial project that had already been drawn in the fifteenth century. The children of Mr. Girona completed the father's company with the construction of the dome, which ended in 1913.
7. BASÍLICA OF SANTA MARÍA DEL MAR -Berenger de Montagut-
It started to be build in 1329. The walls, the side chapels and the façade were finished around 1350. In 1379, about to finish the fourth section of vaults, the scaffolding caught fire and the stones suffered significant damage. Finally, on November 3, 1383 the last part of the vault was placed and on August 15 of the following year the first mass was celebrated. The earthquake of 1428 caused the collapse of the rosette causing some deaths, due to the fall of the stones of the same. Although a contract was soon signed to build a new flamboyant style, which was finished in 1459 and the following year, the windows were placed. It gained a certain reputation when a Spanish book was published that told about his origins called "La Catedral del Mar".
lunes, 8 de abril de 2019
MY 1ST TIME IN FLORENCE
The 1st of April of 2019 we were lucky, because we were going to see one of the most beautiful cities in the whole world.
This city was FLORENCE, FLORENCIA, FIRENZE...
The travel was long even more than the time we spent there, but the illusion that i had to visit it calmed everything.
I were so nervous to arrive at the key point of the city, but finally it occurs,
WE WERE IN FRONT OF SANTA MARIA DEL FIORE´S CATHEDRAL!!!
I were so nervous to arrive at the key point of the city, but finally it occurs,
WE WERE IN FRONT OF SANTA MARIA DEL FIORE´S CATHEDRAL!!!
I had never seen a cathedral similar like this one, so it was special to learn different things about it.
The famous dome by Filippo Brunelleschi was incredible, the biggest one I have never seen!
In front of the cathedral, there was the baptistery with a great masterpiece: "Gates of the Paradise" (be careful they are an exactly copy but there aren´t the original ones, this are on the "Museo dell´opera del duomo")
domingo, 3 de marzo de 2019
ARCHITECTURE OF THE SECOND HALF OF THE 19TH CENTURY
CAST IRON ARCHITECTURE
Form of architecture prominent between 1850 and 1890 which uses iron as building material
Gustave Eiffel (conmemorates the centenary of the French Revolution)
Velázquez Bosco (Retiro park of Madrid)
MODERNIST ARCHITECTURE
Between the 1890 and 1920, used materials such as iron, reinforced concrete and glass as construction and decorative materials
-The buildings has curves and wavy lines were the predominant feature, with organic motifs such as flowers and leaves
Antonio Gaudí: Casa Batlló
Antonio Gaudí: Casa Milà
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