Fita ART INTEGRAT, 2005. - Fundació Fita

L’arquitecte Masramon de la Diputació ja l’any 1943 m’havia demanat
que li fes un dibuix dels capitells i les motllures de la capella de
l’Hospici (Ventura Rodríguez), perquè calia ordenar aspectes arquitectònics,
ja que el cor havia interferit en les diferents adaptacions
efectuades al llarg dels anys. En Masramon sentia admiració per l’arquitectura
del Renaixement, i des de la Diputació va tenir cura tant de
l’Hospici com de l’Hospital. Amb el grup Flamma vam parlar de
diversos projectes per als casquets esfèrics de la capella de l’hospital,
per tal de fer-hi unes pintures.
A l’església de l’hospici jo vaig treballar en les dues parts a l’entrada
del baptisteri, on en Masramon féu una pila baptismal en pedra molt
acurada, mentre jo anava també preparant les pintures per a la capella
de l’esquerra, dedicada al Crist. Pensava també en unes pintures de les
quals vaig fer uns estudis en gravat.
La influència escolar es nota en el fet que les obres s’aguanten per un
esquema de composició interna que ordena la pintura i tota l’obra. En
el baptisteri queda palès que aquest ordre era important, amb St. Joan
Baptista exercint de ministre religiós, Jesús fent-se humil d’administrat,
i els exemples presents a ambdues bandes, amb el sacerdot i el
poble. El lloc que vaig escollir era una vora de l’Onyar en els entorns
de la Creueta i, per tant, aquests llocs foren motiu d’atenció amb
alguns dibuixos d’arbres, plantes i muntanyes.
El Jesús i St. Joan Baptista eren imaginaris, mentre que el capellà era tret
d’un dibuix que vaig fer a Mn. Jordi Carrera; l’escolà, d’un noi que li
deien “el Ros”; i la mare, de la Martina Carrera i un seu fill (la padrina de
la Mercè Xifra). És a dir, que procurava enriquir la pintura amb una bona
preparació. Així doncs, es tracta d’un conjunt de factors que cal portar a
terme al mateix temps, sense oblidar la part tècnica de la pintura al fresc,
que en aquell temps, a l’Escola de Belles Arts, ens tenia fascinats.
La frase del baptisteri me la donà Mn. Jordi Carrera: “Emite Spiritum
tuum et renovabis faciem terrae”: en català no era possible en aquell
moment polític.
1949 Baptisteri de
l’Hospici.
4,50 x 3,70 m.
Pintura al fresc.
The architect Masramon of the representative government already in 1943
had asked me to do him a drawing of the columns and the mouldings of
the chapel of the Hospice (Ventura Rodríguez), because it was necessary
to order the architectural aspects, given that the choir had interfered with
the different adaptations carried out over the years. Masramon felt admiration
for the Renaissance architecture, and from the representative
government he took care of the Hospice as well as the Hospital. Within the
Flamma group we talked about diverse projects for the spherical caps of
the chapel of the hospital, in order to make paintings of them.
On the church of the hospice, I worked on the two parts of the
entrance to the baptistery, where Masramon made a baptismal font
in very accurate stone, while I continued preparing the paintings of
the chapel on the left, dedicated to Christ. I also thought of some
paintings of which I did some studies in engraving.
The school influence can be seen in the fact that the works are held together
by an internal scheme of composition which orders the picture and the
whole work. In the baptistery it is obvious that this commission was important
with Saint John the Baptist representing religious minister, Jesus
being humble and administered to, and the present examples on both sides,
with the priest and the village community. The place I chose was a bank of
the Onyar River around Creueta and for this, these places were a point of
interest with some drawings of trees, plants and mountains.
The Jesus and St John the Baptist were imaginary while the chapel
was taken from a drawing by Mn Jordi Carrera; the scholar, from
a boy they called ‘blondie’; and the mother of Martina Carrera and
her son (the godmother of Mercè Xifra). That is to say, that I tried
to enrich the painting with good preparation. So, it was about a
combination of factors which it was important to bring to their conclusion
at the same time, without forgetting the technical part of the
painting outdoors, which in those times, at the Belles Arts School,
fascinated us. The motto of the baptistery was given to me by Mn.
Jordi Carrera: “Emite Spiritum tuum et renovatis faciem terrae”:
in Catalan it was not possible at that time politically.
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