Modernism is a cultural, literary and artistic movement that emerged during the late 19th and early 20th centuries and embraced the whole of Western society. In Catalonia, however, Modernism (or Modernisme in Catalan) became a broader movement that also came to encompass politics and the economy, giving rise to what is now known specifically as “Catalan Modernism”.
This movement was wielded as a resource in the fight for the creation of a modern country, and also for Catalonia’s struggle to become a nation in its own right.
Although it is in Barcelona that Catalan Modernism can be seen in all its splendour, Olot also boasts numerous exemplars of great cultural and historical value. Indeed, Modernism is a manifestation of the economic power of the Bourgeoisie, who, through their commissions, gave patronage to a series of artists who created works of great beauty and historical significance.
In Olot, Catalan Modernism exudes from the walls of private and public buildings that can be characterised for the uniqueness and talent of their local-born artists. The Ferrer patisserie, located at no. 6, Plaça Mora, is one example of a Modernista building. It is notable for its balconies with curved shapes and profuse decoration. Upon entering the premises, you are transported back in time by the sight of the wood-panelled ceiling. The building was designed in 1907 by the architect Alfred Paluzie, who was a key figure of Catalan Modernism in Olot.
Paluzie also served as a municipal architect for over eleven years in Olot, where he instigated reformation projects that radically transformed the previous buildings. Examples include Casa Masllorens (1902), located at no. 14 Carrer de Sant Cristòfol, and Casa Gaietà Vila (1905), which is known locally as “the Dragon's House”, due to the mythological wrought iron creature that adorns the first-floor balcony of the side façade.
Lluís Domènech i Montaner, one of the key figures of Catalan Modernism, also left his stamp on Olot with the Casa Solà Morales. For this project, he transformed two buildings into a single town house, preserving Agostino Barelli’s original Baroque sgraffiti but adding a balcony, a tribune, eaves and an arcaded gallery on the upper floor. The building also boasts two caryatids created by the sculptor Eusebi Arnau, who trained in Rome and Paris.
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