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Galeries Dalmau
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File:Jean Metzinger, 1910-11, Deux Nus (Two Nudes, Two Women), oil on canvas, 92 x 66 cm, Gothenburg Museum of Art, Sweden.jpg|thumb|Jean Metzinger, 1910–11, Deux Nus (Two Nudes, Two Women), oil on canvas, 92 × 66 cm, Gothenburg Museum of Art, Sweden. Exhibited at the first Cubist manifestation, Room 41 of the 1911 Salon des IndépendantsSalon des IndépendantsFile:Francis Picabia, c. 1921-22, Optophone I, encre, aquarelle et mine de plomb sur papier, 72 x 60 cm.jpg|thumb|Francis PicabiaFrancis PicabiaGaleries Dalmau was an art gallery in Barcelona, Spain, from 1906 to 1930 (also known as Sala Dalmau, Les Galeries Dalmau, Galería Dalmau, and Galeries J. Dalmau). The gallery was founded and managed by the Symbolist painter and restorer {{Ill|Josep Dalmau i Rafel|ca}}. The aim was to promote, import and export avant-garde artistic talent. Dalmau is credited for having launched avant-garde art in Spain.Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906-1914, University of Chicago Press, 2008, pp. 293–295Carol A. Hess, Manuel de Falla and Modernism in Spain, 1898-1936, University of Chicago Press, 2001, p. 76, {{ISBN|0226330389}}In 1912, Galeries Dalmau presented the first declared group exhibition of Cubism worldwide,Commemoració del centenari del cubisme a Barcelona. 1912-2012, Associació Catalana de Crítics d'Art – ACCA with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp. The gallery featured pioneering exhibitions which included Fauvism, Orphism, De Stijl, and abstract art with Henri Matisse, Francis Picabia, and Pablo Picasso, in both collective and solo exhibitions. Dalmau published the Dadaist review 391 created by Picabia,Francis Picabia, 391, several issues available onlineBOOK, Peter Brooker, Sascha Bru, Andrew Thacker, Christian Weikop, The Oxford Critical and Cultural History of Modernist Magazines: Europe 1880 - 1940,weblink 31 January 2015, 19 May 2013, Oxford University Press, 978-0-19-965958-6, 398, and gave support to Troços by {{Ill|Josep Maria Junoy i Muns|ca}}.Troços, digitalization available in the ARCA Portal (archive of antique Catalan magazines)Archive of Troços magazineJosep Maria Junoy, Arte & Artistas (Primera serie), Barcelona, Llibreria de L’Avenç, 1912Dalmau was the first gallery in Spain to exhibit works by Juan Gris, the first to host solo exhibitions of works by Albert Gleizes, Francis Picabia, Joan Miró, Salvador Dalí and Angel Planells. It was also the first gallery to exhibit Vibrationism.M. Lluïsa Faxedas Brujats, "Barradas' Vibrationism and its Catalan Context", RIHA Journal 0135, 15 July 2016The gallery presented native pre-avant-garde artists, tendencies and manifestations new to the Catalan art scene, while also exporting Catalan art abroad, through exhibition-exchange projects, such as promoting the first exhibition by Joan Miró in Paris (1921). Aware of the difficulty and marginality of the innovative art sectors, their cultural diffusion, and promotion criterion beyond any stylistic formula, Dalmau made these experiences the center of the gallery's programming. Dalmau is credited for having introduced avant-garde art to the Iberian Peninsula. Due to Dalmau's activities and exhibitions at the gallery, Barcelona became an important international center for innovative and experimental ideas and methods.Sebastià Gasch, El arte de vanguardia en Barcelona (Avant-Garde Art in Barcelona), Destino. Año 1962, No. 1287-1290 (Abril), p. 48

Background

Josep Dalmau

(File:Josep Dalmau i Rafel, portrait photograph, circa 1910.jpg|thumb|Josep Dalmau i Rafel, c.1910)(File:Josep Dalmau, c.1896.jpg|thumb|Josep Dalmau, c.1896)File:Josep Dalmau i Rafel, c.1900, Self Portrait, oil on canvas, Museu Comarcal de Manresa.jpg|thumb|Josep Dalmau i Rafel, c.1900, Self Portrait (Autorretrato), oil on canvas, Museu Comarcal de ManresaMuseu Comarcal de ManresaBorn in Manresa, 1867, Josep Dalmau early on devoted himself to painting. In 1884, he moved to Barcelona where he discovered the Modernisme painter Joan Brull. Dalmau's painting were included in several salon exhibitions in Catalonia. In 1899 (8-28 July) he was given his first and only solo exhibition, at Els Quatre Gats, a popular meeting place for artists throughout the modernist period. He continued exhibiting his works throughout his lifetime.Elisenda Andrés Pàmies, Les Galeries Dalmau, un projecte de modernitat a la ciutat de Barcelona, 2012-13, Facultat d’Humanitats, Universitat Pompeu FabraWilliam H. Robinson, Jordi Falgàs, Carmen Belen Lord, Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí, Cleveland Museum of Art, Metropolitan Museum of Art (New York), Yale University Press, 2006, {{ISBN|0300121067}}At the age of thirty, he emigrated to Paris where he lived for six years, and studied painting conservation in Bruges and Gant, Belgium.In 1906, after having finished his studies in restoration, Dalmau returned to Barcelona. He worked as a technical restorer for Museu de Barcelona. In 1914 he restored the complex work of Marià Fortuny, The Battle of Tetuan, 1862–64.The Battle of Tetuan by Marià Fortuny, Museu Nacional d'Art de Catalunya, Wikimedia Commons In 1915 he restored the altarpieces for the Board of Museums, known as Junta de Museus de Catalunya.Bru i Turull, Ricard, El comerç d’art japonès a Barcelona, 2009-2010, Universitat de BarcelonaDalmau opened an antiques gallery in 1906, Carrer del Pi, 10, becoming his first showroom, lasting from 1906 to 1911. The establishment basically dealt with antique objects, and later extended with a section of modern art. The first documented exhibition of modern art was in 1908, with the exhibition by {{Ill|Josep Mompou i Dencausse|ca}} and some Japanese prints.El Poble Català, Barcelona, núm. 694, gener 1908, p. 2 The following year Dalmau hosted a joint exhibition of Joan Colom i Agustí, and Isidre Nonell.Dalmau is largely credited for having introduced avant-garde art to Barcelona, and more generally, to Spain. His exhibitions, while promoting international artists, connected Catalan artists with the world of art outside of Spain.Fèlix Fanés, Salvador Dalí: The Construction of the Image, 1925-1930, Yale University Press, 2007, {{ISBN|0300091796}}

Les Galeries Dalmau

File:Galeries Dalmau 1912 exhibition, Barcelona, Spain.jpg|thumb|Galeries Dalmau, Joaquín Torres-GarcíaJoaquín Torres-García(File:Galeries Dalmau 1912 exhibition, Barcelona.jpg|thumb|Galeries Dalmau, Joaquín Torres-García exhibition, 1912, Carrer de Portaferrissa, 18, Barcelona)Mid-1911 announced of expansion of the gallery. It was made possible by the revenue obtained in the market of antiques, especially through the import and export from France. It was also made possible from the proceeds of an exhibition of modern and old master portraits and drawings, organized by the City Council of Barcelona the previous year, in which Dalmau participated as an antique dealer with some valuable works by El Greco, Feliu Elias (aka Joan Sacs) and two works by Francisco Goya, Portrait of Manuel Godoy, valued at 15,000 pesetas and Retrato de niño, 8,000 pesetas.The new establishment located in the Gothic Quarter at Carrer de Portaferrissa, 18, was baptized with the name "Galeries Dalmau" with the goal of combining exhibitions of old masters, modern art, and new art. Dalmau was poised to import foreign avant-garde art into the city of Barcelona, widening the city's cultural horizons.The exhibition space of the gallery was located in the inner courtyard of a house, with a glass ceiling, typical of photography studio or industrial warehouse. It had a threaded mechanism that regulated the light coming in through the skylight. The space was divided by wooden partitions that did not reach the ceiling, and divided into two or three interconnected spaces, and one office. Access to the gallery passed through a long corridor adorned with anonymous unrestored old master landscapes and still lifes.For the coming years, this became the platform featuring pioneering exhibitions of Fauvism, Orphism, De Stijl, and abstract art with Francis Picabia, Kees van Dongen, Joaquín Torres-García, Henri Matisse, Juliette Roche, Georges Braque, André Derain, Auguste Herbin, Fernand Léger, André Lhote, Gino Severini, Louis Valtat, Félix Vallotton, Hans Arp, María Blanchard and others in both collective and solo exhibitions.Art historian Fèlix Fanés writes of the gallery:To overcome the difficulties of the home market, Dalmau introduced contemporary Catalan art to foreign markets. This strategy, together with the arrival of numerous avant-garde artists in Barcelona during the First World War, served to consolidate the modern image of the Galeries Dalmau. The dealer paved the way for many young people in the tough world of advanced art, having a decisive influence, for example, on the early career of Joan Miró.

Selected exhibitions

1912: Picasso, Torres-García

In 1912 two exhibitions took place consecutively: Joaquín Torres-García, a painter of the Noucentista period; and Pablo Picasso, drawings from his Blue Period (February - March 1912).Josep Palau i Fabre, Picasso a Catalunya, Edicions Polígrafa, S.A., Barcelona, 1975, p. 196Exposició de dibuixos i pintures de Joaquim Torres García, Galeries Dalmau, 1912 (exhibition catalogue)Picasso, Veu de Catalunya, 7 March 1912

1912: Exposició d'Art Cubista

File:Henri Le Fauconnier (L'Abondance), Jean Metzinger, (Le Goûter), Robert Delaunay (La Tour Eiffel), La Veu de Catalunya, 1 February 1912.jpg|thumb|Paintings by Henri Le Fauconnier, 1910-11, L'Abondance, Haags Gemeentemuseum; Jean Metzinger, 1911, Le goûter (Tea Time), Philadelphia Museum of Art; Robert DelaunayRobert DelaunayFile:Jean Metzinger, Juan Gris, Marie Laurencin, August Agero, Veu de Catalunya, 25 April 1912.jpg|thumb|Jean Metzinger, c.1911, Nature morte, Compotier et cruche décorée de cerfs; Juan Gris, 1911, Study for Man in a Café; Marie Laurencin, c.1911, Testa ab plechs; August Agero, sculpture, Bust; Juan GrisJuan GrisFile:Albert Gleizes, Juan Gris, Jean Metzinger, El Correo Catalán, 25 April 1912.jpg|thumb|Paintings by Albert Gleizes, 1910-11, Paysage, Landscape; Juan Gris (drawing); Jean Metzinger, c.1911, Nature morte (Compotier et cruche décorée de cerfs). Published on the front page of El Correo Catalán, 25 April 1912]]File:Juan Gris, August Agero, Jean Metzinger, Marie Laurencin, Albert Gleizes, La Publicidad, 26 April 1912.jpg|thumb|Paintings by Juan Gris, Bodegón; August Agero (sculpture); Jean Metzinger, 1910-11, Deux Nus, Two Nudes, Gothenburg Museum of Art; Marie Laurencin (acrylic); Albert Gleizes, 1911, (:File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg|Paysage, Landscape). Published in La Publicidad, 26 April 1912]]From 20 April to 10 May 1912, Josep Dalmau exhibited, for the first time in Spain, in his new space located at Carrer de Portaferrissa, 18, a repertoire of Cubist artworks. This was the first worldwide group exhibition solely dedicated to Cubism. Some of the paintings had been shown at the 1911 Salon d'Automne in Paris. The news of this salon had already spread across Europe, and numerous article had been written about the new art. In Catalonia, Eugeni d'Ors wrote of the salon two months before the Dalmau show, 1 February 1912, "Pel cubisme a l’estructuralisme" published in "Pàgines Artístiques de La Veu de Catalunya", within which Ors depicted Cubism as a provisional stage, a consciousness or rational apprenticeship to build "structuralism". This article generated controversy, reflection and discussion between Joan Sacs, Joaquim Folch i Torres, and Joaquín Torres-García.(p. 39)In Paris, the Cubist works at the 1911 Salon d'Automne resulted is a public scandal that brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants. Cubist paintings had already been exhibited at the 1910 Salon d'Automne (by Jean Metzinger, Robert Delaunay, Henri Le Fauconnier and Fernand Léger), but not under a group banner or name.Daniel Robbins, Jean Metzinger: At the Center of Cubism, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 9-23 The term "Cubisme" was enunciated for the first time for the occasion of the first exhibition to include Cubism outside France: at the Brussels Indépendants, June 1911.Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund And now, the second exhibition beyond the French border was about to take place; the first devoted entirely to Cubism.Josep Bracons Clapés, Les grans exposicions d'art del segle XX, Barcelona Metròpolis Mediterrània, Ajuntament de BarcelonaThis was the backdrop upon which the Barcelona exhibition of Cubist art was set. Josep Dalmau had travelled to Paris to see the 1911 Salon d'Automne.Mercè Vidal, L'exposició d'Art Cubista de les Galeries Dalmau 1912, Edicions Universitat Barcelona, 1996, {{ISBN|8447513831}} He also visited a Cubist exhibition at galerie d'Art ancien et d'Art contemporain (20 November – 16 December 1911), 3 rue Tronchet, where he met several Cubists, including Metzinger. The Dalmau exhibition comprised 83 works by 26 artists, including the Salon Cubists of Salle 41.David Cottington, Cubism in the Shadow of War: The Avant-garde and Politics in Paris 1905-1914, Yale University Press, 1998, {{ISBN|0300075294}} He later attended the Indépendants 1912 Salon des Indépendants (March–May).Mercè Vidal, author of L'exposició d'Art Cubista de les Galeries Dalmau 1912 writes that Dalmau's initiative was not at random, nor the result of chance. 'The presentation of the Cubists in Barcelona came preceded by the interest of the Catalan artists and critics for that movement, from the moment they had first heard news.'The opening of the Exposició de Arte Cubista at Les Galeries Dalmau began at 6pm on 20 April 1912.Exposició de Arte Cubista, Galeries Dalmau, Barcelona, 20 April – 10 May 1912. Illustrated catalogue Entrance was strictly by personal invitation. Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition, which was fully translated and reproduced in the newspaper La Veu de Catalunya.Joaquim Folch i Torres, Els Cubistes a cân Dalmau, Pàgina artística de La Veu de Catalunya (Barcelona) 18 April 1912, Any 22, núm. 4637-4652 (16-30 abr. 1912)Joaquim Folch y Torres, "El cubisme", Pàgina Artística de La Veu, La Veu de Catalunya, 25 April 1912 (includes numerous articles on the artists and exhibition) Previously, Jacques Nayral (pseudonym for Jacques Huot), joined forces with Alexandre Mercereau, Gleizes, Metzinger, and Le Fauconnier in planning to publish a review dedicated to the plastic arts.John Golding, Cubism, A History and an Analysis 1907-1914: The plans for this publication were discussed in Paris–Journal, 17–30 October 1911 As editor-in-chief of {{Ill|Eugène Figuière|fr}} publications, he went on to launch as series under the umbrella name Tous les arts, which published the first two seminal books on Cubism: Du "Cubisme" (1912) by Metzinger and Gleizes, and Les Peintres Cubistes, Méditations Esthétiques (1913) by Guillaume Apollinaire. In his Dalmau catalogue Preface, Nayral writes:the artist must no longer cling to servile imitations, that artistic joy is not produced by the observance of an exact reproduction of appearance, but that it is born of the interaction of our sensibility and our intelligence, that the deeper the artist leads us into the unknown, the more talent he has. A multiple enigma, which does not reveal itself in its integrity and in a single stroke, but gradually and step by step—just as we read a book page by page.Nayral then cites Metzinger's 1910 concept that their attempt is to realize a "total image" (depicting the subject from a multitude of viewpoints to represent the subject in a greater context),Jean Metzinger, Note sur la peinture, Pan (Paris), October–November 1910 giving "a plastic consciousness to our instinct", and leading to a more profound truth—a "truth that only the intelligence grasps."It is lyrical poetry... that one would have to express those profound feelings. No, not even that: in exchange for a supreme and marvelous selfish joy, it would be better not to try to analyze that divine sensation of mystery, that communion with the great unknown, which the contemplation of pure beauty elicits in the depths of our souls.Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe.Cubists artists consisted of Jean Metzinger, Albert Gleizes, Marcel Duchamp, Juan Gris, Marie Laurencin, August Agero, with works by Henri Le Fauconnier and Fernand Léger listed in the supplement of the catalogue.Jean Metzinger was considered the most representative of the Cubists. He exhibited a Study for "Le Goûter" (1911),Jean Metzinger, Etude pour "le gouter" (1911), Agence Photographique de la Réunion des musées nationaux which was printed on an advertising poster for the Cubist show at Dalmau, and two paintings, Nature morte (Compotier et cruche décorée de cerfs) (1910-11) and Deux Nus (Two Nudes, Two Women) (1910-11). Albert Gleizes exhibited Paysage (Landscape, Les Maisons) (1910-11), Le Chemin, Paysage à Meudon, Paysage avec personnage (1911), Study for the portrait of Jacques Nayral, a drawing entitled El año, and three more untitled works. Marcel Duchamp showed La sonate (Sonata) (1911) and Nude Descending a Staircase, No. 2 (1912) was exhibited for the first time. Juan Gris was represented by Nu, four untitled oils, and five drawings. Marie Laurencin showed two watercolors, two oils, two drawings and six etchings. August Agero, presented a Statue of man, Statue of woman, Bust of man, Jeune fille à la rose, a series of dishes, including one titled Adam and Eva (copper plate) and five drawings. Le Fauconnier exhibited Portrait d'un Poète and two landscapes of Brittany. Fernand Léger had three drawings in the show.(File:Cubist caricature, Esquella de La Torratxa, 3 May 1912.jpg|thumb|Cubist caricature referencing the Dalmau exhibition, published in Esquella de La Torratxa, 3 May 1912)(File:Cubist caricatures, El Noticiero Universal, 25 April 1912.jpg|thumb|Cubist caricatures referencing the Dalmau exhibition, published in El Noticiero Universal, 25 April 1912)While press coverage was extensive, it was not always positive. Articles were published in the newspapers Esquella de La TorratxaCubist caricature, Esquella de La Torratxa, Núm 1740 (3 maig 1912) and El Noticiero UniversalJuan de Dos, Los pintores cubistas en Barcelona, Crónica de Arte, El Noticiero Universal, 25 April 1912 attacking the Cubists with a series of caricatures laced with text, showing people shaped like cones standing in front of the works. Another depicted Adam and Eve in crude cubic form (Agero presented a sculpture of the subject). Others still interpreted the paintings as cubic scribbles, or an artist at his easel with a cube-like animal head; all with derogatory captions. Others mocked the works, referring to them as "hieroglyphs". Among artists reactions were mixed, sparking a debate among Noucentists. Eugeni d'Ors saw Duchamps Nude Descending a Staircase as a "sad case, a case of unconsciousness and disorientation".Xenius, Poch a poch, poch a poch. Glosari. La Veu de Catalunya Edició Vespre, Barcelona, 27 April 1912 In another article he referred to Duchamps Nude as "monstrous", because the artist renounced form and a sensual appearance of reality, contradicting the efforts of other Cubists.Eugeni d’Ors (Xenius), El cas DU CHAMP, Glosari, La Veu de Catalunya (Barcelona) Monday, 29 April 1912, no. 4,651, p. 1 (original publication)Eugeni d’Ors (Xenius), El cas DU CHAMP, Glosari, La Veu de Catalunya (Barcelona) 29 April 1912 (edició vespre), 2009 The following year Nude Descending a Staircase, No. 2 was exhibited at the Armory Show where it became the subject of endless scandal.Armory show entry form for Marcel Duchamp's painting Nude descending a staircase, not after 1913. Walt Kuhn, Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution.Calvin Tomkins, Duchamp: A Biography, Henry Holt and Company, 1996, Inc. {{ISBN|0-8050-5789-7}}American Studies at the University of Virginia, The Armory Show, Gallery I, French Paintings and SculptureArt historian Jaime Brihuega writes of the Dalmau Cubist show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion.Jaime Brihuega, Las Vanguardias Artísticas en España 1909-1936, Madrid. Istmo.1981D. José Luis Antequera Lucas, Tradición y vanguardia en la pintura española de paisaje entre 1915 y1926 a través de la obra "El año artístico" del crítico de arte José Francés, Universidad de Murcia. Facultad de Letras. Departamento de Historia del Arte. Murcia, 2013 (PDF) Cubism subsequently became one of the most influential art movements of the 20th century;Christopher Green, MoMA collection, Cubism, Introduction, from Grove Art Online, Oxford University Press, 2009 {{webarchive|url=https://web.archive.org/web/20140813112047weblink |date=2014-08-13 }}Cubism: The Leonard A. Lauder Collection, The Metropolitan Museum of Art, New York, 2014 {{webarchive|url=https://web.archive.org/web/20150517015704weblink |date=2015-05-17 }} impacting developments in Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco.Christopher Green, 2009, Cubism, Meanings and interpretations, MoMA, Grove Art Online, Oxford University Press, 2009 {{webarchive|url=https://web.archive.org/web/20150702090838weblink |date=2015-07-02 }} while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements.Christina Lodder, 2009, Constructivism, Formation, 1914–21, MoMA, Grove Art Online, Oxford University Press, 2009 {{webarchive|url=https://web.archive.org/web/20081024234226weblink |date=2008-10-24 }}Selected works exhibited and/or reproduced in the pressFile:Jean Metzinger, 1910-11, Deux Nus (Two Nudes), dimensions and whereabouts unknown..jpg|Jean Metzinger, 1910-11, Deux Nus (Two Nudes, Two Women), oil on canvas, 92 x 66 cm, Gothenburg Museum of Art, Sweden. Exhibited at the first Cubist manifestation, Room 41 of the 1911 Salon des Indépendants, Paris. Exposició d'Art Cubista, 1912File:Jean Metzinger, 1911, Étude pour Le Goûter, Exposició d'Art Cubista, Galeries Dalmau, Barcelona, 1912 (catalogue).jpg|Jean Metzinger, 1911, Étude pour "Le Goûter" (Study for Tea Time), Exposició d'Art Cubista, Galeries Dalmau (catalogue)File:Jean Metzinger, 1911, Etude pour Le Goûter, graphite and ink on paper, 19 x 15 cm, Musée National d'Art Moderne, Centre Georges Pompidou, Paris.jpg|Jean Metzinger, 1911, Étude pour "Le Goûter" (Study for Tea Time), graphite and ink on paper, 19 x 15 cm, Musée National d'Art Moderne, Centre Georges Pompidou, Paris. Exposició d'Art Cubista, 1912File:Jean Metzinger, Le goûter, Tea Time, 1911, 75.9 x 70.2 cm, Philadelphia Museum of Art.jpg|Jean Metzinger, 1911, Le goûter (Tea Time), oil on canvas, 75.9 x 70.2 cm, Philadelphia Museum of Art. Exhibited at the 1911 Salon d'Automne. Published in Fantasio, 15 October 1911, Du "Cubisme", 1912, Les Peintres Cubistes, 1913, and in La Veu de Catalunya, 1 February 1912. André Salmon dubbed this painting "The Mona Lisa of Cubism"File:Jean Metzinger, ca 1911, Nature morte, oil on canvas, 93.5 by 66.5 cm.jpg|Jean Metzinger, ca 1911, Nature morte (Compotier et cruche décorée de cerfs), oil on canvas, 93.5 x 66.5 cm. Exposició d'Art Cubista, 1912File:Henri Le Fauconnier, 1910-11, L'Abondance (Abundance), oil on canvas, {{convert|191|x|123|cm|in|abbr=on}}, Gemeentemuseum Den Haag.jpeg|Henri Le Fauconnier, 1910–11, L'Abondance (Abundance), oil on canvas, 191 x 123 cm, Gemeentemuseum Den Haag. Reproduced in La Veu de Catalunya, 1 February 1912File:Recoveredgleizes.jpg|Albert Gleizes, 1911, Le Chemin, Paysage à Meudon, Paysage avec personnage, oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, 1911, Bruxelles, 1911, Exposició d'Art Cubista, 1912File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg|Albert Gleizes, 1910–11, Paysage (Landscape, Les Maisons), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece (titled Les Maisons, dated 1910) catalogue Galeries Dalmau, Exposició d'Art Cubista, Barcelona, 1912File:Marcel Duchamp, 1911, La sonate (Sonata), oil on canvas, 145.1 x 113.3 cm, Philadelphia Museum of Art.jpg|Marcel Duchamp, 1911, La sonate (Sonata), oil on canvas, 145.1 x 113.3 cm, Philadelphia Museum of Art. Exposició d'Art Cubista, Barcelona, 1912File:Duchamp - Nude Descending a Staircase.jpg|Marcel Duchamp, 1912, Nude Descending a Staircase, No. 2, oil on canvas, 147 cm × 89.2 cm, Philadelphia Museum of Art. Exposició d'Art Cubista, Barcelona, 1912File:Juan Gris, Exposició d'Art Cubista, Galeries Dalmau, Barcelona, 1912 (catalogue).jpg|Juan Gris, Exposició d'Art Cubista, Galeries Dalmau, Barcelona, 1912 (catalogue page)File:Juan Gris - Study for Man in a Café.jpg|Juan Gris, 1911, Study for "Man in a Café", black crayon on laid paper, 55.9 x 41.9 cm, Philadelphia Museum of Art. Exposició d'Art Cubista, 1912File:Juan Gris, 1912, La Guitare (Guitar and Glasses), oil on canvas, 30 x 58 cm, private collection.jpg|Juan Gris, 1912, La Guitare (Guitar and Glasses), oil on canvas, 30 x 58 cm, private collection. Exposició d'Art Cubista, Barcelona, 1912File:Marie Laurencin, Exposició d'Art Cubista, Galeries Dalmau, Barcelona, 1912 (catalogue).jpg|Marie Laurencin, Exposició d'Art Cubista, Galeries Dalmau, Barcelona, 1912 (catalogue)File:August Agero, Jeune fille à la rose, Exposició d'Art Cubista, Galeries Dalmau, Barcelona, 1912, catalogue.jpg|August Agero, Jeune fille à la rose, wood sculpture, Exposició d'Art Cubista, Galeries Dalmau, Barcelona, 1912, catalogue

1912: Exposició d'art polonès

This was large exhibition of Polish artists living in France transpired at Dalmau during the months of May and June 1912.Exposició d'art polonès catalogue cover, Galeries Dalmau, Focus of avant-garde art in CataloniaExposició d'art polonès catalogue, Galeries Dalmau

1913–1915: Divers artists

Between 1913 and 1915 the gallery held a series of exhibitions by local artists, such as Darío de Regoyos (1913–14), {{Ill|Josep Aragay i Blanchart|ca}} (1913), {{Ill|Pere Torné i Esquius|ca}} (1913–14), {{Ill|Laura Albéniz Jordana|ca}} (1914), Gustavo de Maeztu (1914), {{Ill|Celso Lagar|ca}} (1915).

1915–16: Kees van Dongen

Kees van Dongen exhibited at Galeries Dalmau 26 December 1915 - mid-January 1916.Francesc Fontbona, Sobre l'exposició Van Dongen a Barcelona (1915) By the time this solo exhibition made it to the walls of Sala Dalmau, van Dongen was already known in Catalonia. Eugeni d'Ors had written about his work in the newspaper El Poble Català (19 August 1905), and Joan Sacs (Feliu Elias) had already dedicated an article to him in Magazine Nova (4/7/1914). Seven works by van Dongen were shown: Tanger, Vacances, Cousine, Le chrysanthème, Intérieur, Portrait of the Princesse Salomé Andreeif and Danseuse orientale.Van Dongen: exposa set obres a les Galeríes Dalmau 18 Portaferriça, Barcelona: December 1915-January 1916, Biblioteca de CatalunyaIn Vell i Nou 15 December 1915 it was written that the artist "has managed to interpret with a sweet smile the hell of vice and the perversity of life in the underworld of Paris", and La Veu de Catalunya 11 December recalled of his work "the especially preeminent place that it occupies among the most advanced pictorial schools". The exhibition was well received by L'Esquella de la Torratxa, 14 January 1916, and the magazine Themis, by Vilanova i la Geltrú, 5 January, in which J.F. Ràfols wrote a detailed account of van Dongen work, although not without some reticence, as he described a "believer exceeded by the artificiality of the type of woman, make-up and frivolous, portrayed by the artist. In Vell i Nou, Romà Jori wrote: "from the union between symbolist poets and impressionist painters this painting is born, which has Van Dongen as one of its most solid representatives".Francesc Fontbona, Kees van Dongen, Kees Van Dongen i Barcelona

1916: Serge Charchoune, Helene Grunhoff

The exhibition of Serge Charchoune and Helene Grunhoff took place 29 April through 14 May 1916.Catàleg de l'exposició d'Helene Grunhoff i Serge Charchoune, organitzada a les Galeries Dalmau del carrer Portaferrisa, del 29 d'abril al 14 de maig. Barcelona Charchoune attended academies in Moscow before his 1912 arrival in Paris, where he studied Cubism under Jean Metzinger and Le Fauconnier at Académie de La Palette.Daniel Abadie, Patrick Waldberg, Serge Charchoune, Palace Editions, 2006, p. 14Michel Sanouillet, Dada à Paris, CNRS Éditions via OpenEdition, 2016 (published in France in 1965), p. 163, {{ISBN|2271091276}}WEB,weblink RKD Netherlands Institute for Art History, Jean Metzinger, Waterhouse & Dodd Fine Art, Jean Metzinger While in Paris he met the sculptor Hélène Grunhoff (or Helena Grünhoff) (1880-?), with whom he would live for ten years. In 1915, with the outset of World War I, Charchoune and Grunhoff took refuge in Mallorca and Barcelona.Merlin James, Charchoune: The Exhibition in Open, Talbot Rice GallerySerge Charchoune The two exhibited again at Galeries Dalmau in 1917.Catàleg de l'exposició d'Helene Grunhoff, organitzada a les Galeries Dalmau del carrer Portaferrisa, del 17 al 31 de març 1917. Barcelona. (Catalan)File:Albert Gleizes, 1912-13, Les Joueurs de football (Football Players), oil on canvas, 225.4 x 183 cm, National Gallery of Art.jpg|thumb|Albert Gleizes, 1912-13, Les Joueurs de football (Football Players), oil on canvas, 225.4 x 183 cm, National Gallery of ArtNational Gallery of Art(File:Albert Gleizes, 1915, Broadway, oil on board, 98.5 x 76 cm, private collection.jpg|thumb|Albert Gleizes, 1915, Broadway, oil on board, 98.5 x 76 cm, private collection. Exhibited Galeries Dalmau, Barcelona, 1916, n. 11 or 12, titled Broadway New York, 1915. Galeries Dalmau, 1916)

1916: Albert Gleizes

By 1916 the Galeries Dalmau had become a focal point for abstract art and Cubist activities. Albert and Juliette Gleizes, Robert and Sonia Delaunay, Francis Picabia, Marie Laurencin and her husband {{Ill|Otto von Wätjen|fr}}, Olga Sacharoff, Serge Charchoune and Rafael Barradas were among the artists to adopt Barcelona as their new home; others included the film theoretician and publisher of the avant-garde magazine Montjoie!, Ricciotto Canudo; artist and boxer Arthur Cravan, his brother Otho Lloyd; poet, painter, playwright, choreographer Valentine de Saint-Point, and art critic Max Goth (Maximilien Gauthier).Burke, Carolyn (1999), "Recollecting Dada: Juliette Roche" in Sawelson-Gorse, Naomi, Women in Dada: Essays on Sex, Gender and Identity, Cambridge: MIT Press, pp. 546–577, retrieved 8 March 2015Spain remained neutral during World War I, between July 1914 and November 1918. Despite domestic economic difficulties, many artists chose to reside in Spain (and Barcelona in particular).List of works exhibited by Gleizes, Dossier de premsa de la presentació del fons de les Galeries Dalmau, Biblioteca de Rafael i María Teresa Santos TorroellaGleizes' solo exhibition at Dalmau took place 29 November – 12 December 1916,Exposició Albert Gleizes, 29 November – 12 December 1916, Galeries Dalmau, Barcelona (catalogue)Albert Gleizes, 29 November – 12 December 1916, Galeries Dalmau (invitation) generating considerable press coverage, for example in Vell i Nou,Albert Gleizes, Vell i Nou. Any 2, núm. 38 (1 des. 1916) p. 301 and by Joan Sacs (Feliu Elias), who under another pseudonym, Apa, drew a caricature of Gleizes, in La Publicidad.Barcelona, Joan Sacs (Feliu Elias), Exposicion Gleizes, La Publicidad, Thursday 30 November 1916. Front pageArt historian Daniel Robbins writes of the Barcelona works of Gleizes:His work was always directly engaged with environment, especially an unfamiliar one. Thus, his 1916 voyage to Spain resulted in a number of obviously Spanish paintings, (Spanish Dancer) hot and exuberant (as well as in a lost Sailboat painting, more consonant with the general course of his development in synthetic abstraction) and few of his paintings are as sensual and immediate as those of Bermuda in which a Cezannesque concern for light-modified forms and his consistent diagonal brushwork overcome any conceptual efforts.

1917: Torres-García, Barradas, Charchoune

At this exhibition, featuring Joaquim Torres i García, Rafael Barradas y Serge Charchoune, Vibrationism was exhibited publicly for the first time.Josep Casamartina, "Serge Charchoune y su arabesco," in: Serge Charchoune, 1889-1975. Entre Dadá y la abstracción, Madrid 2004, 51-97; Pascal Rousseau, "La Galería Dalmau. La introducción de la abstracción en Cataluña y la vanguardia durante la primera Guerra Mundial," in: París – Barcelona, 1888-1937, Barcelona/ Paris 2005, pp. 327-337Torres-García, "Conferència a Can Dalmau" (originally published in La Veu de Catalunya, Barcelona, 19 March and 9 and 16 April 1917), in: idem, Escrits sobre art, ed. Francesc Fontbona, Barcelona 1980, 179-185 In a conference held at Galeries Dalmau, 22 February 1917, Torres-García delivered a lecture in which he cites:This spirit does come to us without enthusiasm, and this is another characteristic. We are engulfed in flame, we vibrate; our spirit is vibratory, agile; it covers immense spaces in seconds; we feel in ourselves the conviction that we can achieve extraordinary things. Good things fall to us; we become altruistic, sincere, indulgent, cordial. The world is beautiful, exuberant with life, with heat, with light. Serenity, like a sovereign, reigns over everything. The world enjoys perpetual peace.

1918: Joan Miró

File:Vincent Nubiola Miro.jpg|thumb|Joan Miró, April 1917, Portrait of Vincent Nubiola (Portrait de Vincenç Nubiola), oil on canvas, 104 x 113 cm, Folkwang MuseumFolkwang MuseumFile:Joan Miró, 1920, Horse, Pipe and Red Flower, oil on canvas, 82.6 x 74.9 cm, Philadelphia Museum of Art.jpg|thumb|Joan Miró, 1920, Horse, Pipe and Red Flower, oil on canvas, 82.6 x 74.9 cm, Philadelphia Museum of ArtPhiladelphia Museum of ArtBy 1917 the young Joan Miró, appreciably affected by the Cubist works exhibited at Galeries Dalmau, became involved in the gallery efforts, and soon applied his own personal interpretation to the Cubist approach. 16 February through 3 March 1918 Dalmau presented Miró's first solo exhibition, and would later arrange his first Parisian solo exhibition, at Galerie la Licorne in 1921.Joan Miró - GuggenheimJoan Miró a la Viquipèdia, Estat de la qüestió el juny de 2016, Biography, Works, Fundació Joan Miró, Premi Joan Miró, Text and image sourcesJoan Miró, Galerie La Licorne, 29 April – 14 May 1921, Paris, exhibition catalogue, Preface by Maurice RaynalThe Galeries Dalmau exhibition of Joan Miró was accompanied by a catalogue with a calligram poem by Josep Maria Junoy. Listed are a total of 64 works: 2 dated 1914; 7 dated 1915; 25 from 1916; and 30 works from 1917.Joan Miró exhibition catalogue, 16 February - 3 March 1918, Galeries Dalmau Reports are that the show was not a success,Miguel Cabañas Bravo, El arte español del siglo XX: su perspectiva al final del milenio, Editorial CSIC, 2001, p. 91, {{ISBN|8400079353}} his work was ridiculed and defaced.WEB,weblink Joan Miró images in Barcelona - Europe - Travel, The Independent, 2011-04-13, 2014-08-08, Miró's submissions reflected the influence of French movements, Impressionism, Fauvism, and Cubism, with colors akin to van Gogh and Cézanne (such as Portrait of Vincent Nubiola),Georges Raillard, Miró, Debate, Madrid, 1992, pp. 48-54, {{ISBN|84-7444-605-8}} as well as the influence of van Dongen and Gleizes.Rosa Maria Malet, Joan Miró, Edicions 62, Barcelona, 1992, p. 20, {{ISBN|84-297-3568-2}} The reaction among critics was mixed, and Miró only managed to sell one work, a still life of a coffee grinder, which was purchased by Catalan artist {{Ill|Josep Mompou|es}} (who exhibited at Galeries Dalmau in 1908) for 250 pesetas.Lluís Permanyer, Miró, la vida d'una passió, Edicions de 1984, Barcelona, 2003, p. 34, {{ISBN|84-96061-08-6}}.Miró subsequently was drawn towards the arts community gathering momentum in Montparnasse and in 1920 moved to Paris, but continued to spend his summers in Catalonia.Victoria Combalia, "Miró's Strategies: Rebellious in Barcelona, Reticent in Paris", from Joan Miró: Snail Woman Flower Star, Prestel 2008

1920: Exposición de Arte francés de Vanguardia

The Exposición de Arte francés de Vanguardia transpired at Les Galeries Dalmau 26 October through 15 November 1920.Exposición de Arte francés de Vanguardia, Galeries Dalmau, 1920 (catalogue) The exhibition of avant-garde French art was one of the most important exhibitions organized by Dalmau, in which the dealer's intention was to offer a representative sample of artists who worked in France, both French and other nationalities. The sheer number of artists was vast, and so too the range of periods covered; from post-Impressionism to abstract art, Fauvism, Cubism and De Stijl in passing.It was at this exhibition, in all probability, that dealer Léonce Rosenberg and Miró met for the first time. Dalmau had organized the show with the help of Rosenberg and of Georges Bernheim, the gallery owner and international art expert during the Parisian interwar period. He had exhibited works by Francis Picabia, Raoul Dufy, and many others at the Galerie Georges Bernheim.Joan Miró, José F. Ráfols, Francesc Fontbona, Cartes a J.F. Ràfols, 1917/1958, Volume 3 of Secció d'Estampes, Mapes i Gravats, Amadeu-J. Soberanas, Francesc Fontbona, Biblioteca de Catalunya, 1993, {{ISBN|8478451196}} Virtually all of the Cubists in the show had already exhibited at Rosenberg's Galerie de L'Effort Moderne, or would shortly. In 1930 and 1932, Rosenberg presented two large exhibitions of works by Picabia.Effort Moderne, Galerie L, Paris, Index of Historic Collectors and Dealers of Cubism, 1918-1941, Leonard A. Lauder Research Center for Modern Art, Metropolitan Museum of ArtArtists included María Blanchard, Georges Braque, Henri-Edmond Cross, Jean Dufy, Raoul Dufy, André Derain, André Dunoyer de Segonzac, Emile-Othon Friesz, Albert Gleizes, Juan Gris, Henri Hayden, Auguste Herbin, Marie Laurencin, Fernand Léger, André Lhote, Jacques Lipchitz, Henri Manguin, Jean Marchand, Albert Marquet, Henri Matisse, Jean Metzinger, Joan Miró, Pablo Picasso, Diego Rivera, Gino Severini, Paul Signac, Joaquim Sunyer, Léopold Survage, Louis Valtat, Félix Vallotton, Kees van Dongen, Maurice Vlaminck, and Manuel Ortiz de Zárate. In all, 45 artists participated with 87 works of art displayed.The preface of the catalogue was written by French art critic and an ardent propagandist of Cubism Maurice Raynal. 28 Artworks were reproduced in the catalogue.Maurice Raynal delivered a surreal preface laced with philosophy, theology, seemingly geared towards the collectors inner sensibility:Afición ciega razón, says a Spanish proverb. Well! yes. It is necessary that affection blinds reason. So do not try here to discriminate against efforts divergent from sensibility and sensuality. Look and choose, or rather let yourself be taken, stop in front of what captures you, because we never choose. [...] love does not choose, it takes what it finds. So do not try to compare and therefore do not label. Only true love has to make comparisons, and the elective character we would like to bestow upon it is only a pleasant fantasy around its power. [...] Breathe nature only with all the pores of your sensitivity, contemplate the universe through your window or in your own mirror if you prefer. This one tell you: "This is what nature has shown me". That one will affirm: "That is what I showed nature". Just remember that we only have at home the painting that we deserve. (Maurice Raynal, 1920)File:Pablo Picasso, 1903, Desemparats (Maternité, Mère et enfant au fichu, Motherhood), pastel on paper, 47.5 x 41 cm, Museu Picasso, Barcelona.jpg|Pablo Picasso, 1903, Desemparats (Maternité, Mère et enfant au fichu, Motherhood), pastel on paper, 47.5 x 41 cm, Museu Picasso, Barcelona. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920File:Young Sailor II.jpg|Henri Matisse, 1906, The Young Sailor II, oil on canvas, 101.3 x 82.9 cm, Metropolitan Museum of Art. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920File:Henri-Edmond Cross, 1907-08, La Pleine de Bormes, oil on canvas, 73.1 x 91.8 cm.jpg|Henri-Edmond Cross, 1907–08, La Pleine de Bormes, oil on canvas, 73.1 x 91.8 cm. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920File:Kees van Dongen, 1911, Femme a la balustrade, (Woman on the balustrade, En la plaza), 1911, oil on canvas, 81.3 x 99.1 cm, Annonciade Museum, Saint Tropez.jpg|Kees van Dongen, 1911, En la plaza (Femme a la balustrade, Woman on the balustrade), oil on canvas, 81.3 x 99.1 cm, Annonciade Museum, Saint Tropez. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920File:Auguste Herbin, 1912, Les roses, oil on canvas, 92.1 x 60.3 cm.jpg|Auguste Herbin, 1912, Les roses, oil on canvas, 92.1 x 60.3 cm. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920 (page from the catalogue)File:Louis Valtat, 1913, Nu au fauteuil, oil on canvas, 81.4 x 65.4 cm.jpg|Louis Valtat, 1913, Nu au fauteuil (Nu sur fond rose), oil on canvas, 81.4 x 65.4 cm, private collection. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920File:Jean Metzinger, 1917, Nature morte, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920 (catalogue).jpg|Jean Metzinger, c.1917, Nature morte, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920 (page from catalogue)File:Fernand Léger, 1919, Le disque rouge, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920 (catalogue page).jpg|Fernand Léger, 1919, Le disque rouge, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920 (catalogue page)File:Paul-Élie Gernez, Saint-Claude.jpg|{{Ill|Paul-Élie Gernez|fr}}, Saint-Claude, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920 (catalogue)File:Joaquim Sunyer, c.1920, La sandía, oil on canvas, 59 x 71.5 cm, Museu Nacional d'Art de Catalunya.jpg|Joaquim Sunyer, c.1920, La sandía (The Watermelon), oil on canvas, 59 x 71.5 cm, Museu Nacional d'Art de Catalunya, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barcelona, 1920

1922: Francis Picabia

File:Francis Picabia exhibition, Galeries Dalmau, Barcelona, 1922.jpg|thumb|300px|Francis PicabiaFrancis PicabiaFrancis Picabia presented his first and only solo exhibition in Barcelona at the Galleries Dalmau, from 18 November to 8 December 1922. Picabia, by this time, had already transited through a Cubist phase (in Paris) and a proto-Dada phase (New York City). Picabia exhibited forty-seven works at the Galeries Dalmau, all recent (produced within months of the show) and previously unpublished. The works were an eclectic mix of figurative art, abstract and mechanical representations ("late machinist").William A. Camfield, Francis Picabia, Solomon R. Guggenheim Museum, New York, 1970 This was a transition period between Dada and Surrealism. The subjects of the work included was reflected in the titles: Aviation, Astrolab, Thermometer for the blind, Spanish Woman and Optophone.Rafael Santos Torroella, Francis Picabia i Barcelona, Francis Picabia, Exposició Antològica Barcelona 1985 (Barcelona: Fundació Caixa de Pensions; Madrid: Ministerio de Cultura)Francis Picabia, Purple Magazine, S/S 2010 issue 13 Before the opening, a lecture on modern art was delivered at the {{Ill|Ateneu Barcelonès|ca}} by André Breton, who once wrote that "Paris is bigger than Picabia, but Picabia is the capital of Paris."Francis Picabia. Machines and Spanish Women, Fundació Antoni Tàpies, Barcelona He also wrote the preface published in the catalogue for the occasion:Francis Picabia, Galeries Dalmau, del carrer Portaferrisa, 18 November – 8 December 1922, Barcelona (exhibition catalogue)Francis Picabia : exposition, Galeries Dalmau..., Barcelona, 18 oct.-8 déc. 1922 / préf. par André Breton, Barcelona, Galeries Dalmau, 1922, cote RLPF 8100"[...] Indeed, the work no longer resides in the more or less successful combination of colors, in the game of lines that approaches more or less high degree the reality. There is no similarity, not even distant. The joke of representation has lasted too long [...] giving way to compositions where the plastic values, exempt of all representative or symbolic intent, may not play as significant a role as the signature or title. [...] "The negative reviews from the Catalan cultural and artistic institutions following the first publications of 391, appeared to have interfered in Picabia's exhibition at Dalmau, despite the fact that tendencies were flowing inexorably toward the avant-garde, Dada included. Neither André Breton's conference or the exhibition catalog were particularly successful. However, there was published an extensive article on Picabia and Breton's conference in La publicitat, written by the art critic {{Ill|Magí Albert Cassanyes i Mestre|ca}}.Magí Albert Cassanyes, Sobre l’exposició Picábia i la conferencia de BretonTo his credit, writes Elisenda Andrés Pàmies, since 1912 Josep Dalmau had been the first and only Catalan dealer to have established relationships with the creators of the diaspora and welcomed them into Les Galleries Dalmau. Picabia's exhibition solidified that continuity.Dalmau published the first four issues of the Dadaist review 391 (1917-1924) and Cinquante-deux miroirs (1914-1917) created by Picabia.BOOK, Aránzazu Ascunce Arenas, Barcelona and Madrid: Social Networks of the Avant-Garde,weblink 15 November 2014, 15 March 2012, Lexington Books, 978-1-61148-425-0, 116, File:Francis Picabia, Flamenca, 391, n. 3, March 1, 1917.jpg|Francis Picabia, Flamenca, 391, n. 3, March 1, 1917File:Francis Picabia, Francis chante le Coq, 391, n. 14, November 1920.jpg|Francis Picabia, Francis chante le Coq, 391, n. 14, November 1920File:Francis Picabia, 391, n. 13, July 1920.jpg|Francis Picabia, Ce numéro et entouré d'une deníelle rose. Page from 391, n. 13, July 1920File:Francis Picabia, Lampe Illusion, 391, n. 3, March 1, 1917.jpg|Francis Picabia, Lampe Illusion, 391, n. 3, March 1, 1917File:Francis Picabia, Marie, Barcelone, 391, n. 3, March 1, 1917.jpg|Francis Picabia, Marie, Barcelone, 391, n. 3, March 1, 1917File:Francis Picabia, Molèculaire, 391, No. 8, Feb. 1919.jpg|Francis Picabia, Molèculaire, 391, No. 8, February 1919File:Francis Picabia, Peigne, Miroir de l'Apparence, 391, n. 2, February 10, 1917.jpg|Francis Picabia, Peigne, Miroir de l'Apparence, 391, n. 2, February 10, 1917File:Francis Picabia, Phosphate, Littérature, No. 6, New Series, Paris, 1 November, 1922.jpg|Francis Picabia, ''Phosphate, Littérature, No. 6, New Series, Paris, 1 November 1922File:Francis Picabia, Américaine, 391, n. 6, July 1917.jpg|Francis Picabia, Américaine, 391, n. 6, July 1917File:Francis Picabia, Âne, 391, July 1917.jpg|Francis Picabia, Âne (English: Donkey), 391, July 1917File:Francis Picabia, 1922, Aviation, ink, crayon, watercolor on paper, 79.9 x 54 cm, RISD Museum.jpg|Francis Picabia, 1922, Aviation, ink, crayon, watercolor on paper, 79.9 x 54 cm, RISD MuseumFile:Francis Picabia, Astrolabe, Galeries Dalmau exhibition catalogue, 1922.jpg|Francis Picabia, Astrolabe, Galeries Dalmau exhibition catalogue, 1922File:Francis Picabia, Thermomètre pour aveugles, Galeries Dalmau exhibition catalogue 1922.jpg|Francis Picabia, Thermomètre pour aveugles (Thermometer for the Blind), Galeries Dalmau exhibition catalogue 1922File:Francis Picabia,1922, Femme Espagnole (Espagnole à la cigarette), watercolor, gouache and pencil on paper, 72 x 51 cm.jpg|Francis Picabia, 1922, Femme Espagnole (Espagnole à la cigarette), watercolor, gouache and pencil on paper, 72 x 51 cm, private collectionFile:Galeries Dalmau, during an exhibition of Rafael Barradas, Passeig de Gràcia, Barcelona, 1925-26.jpg|thumb|270px|Galeries Dalmau, during an exhibition of Rafael BarradasRafael Barradas

1923: Passeig de Gràcia

In 1923 the gallery relocated to one of the major avenues in Barcelona, Passeig de Gràcia, 62, where is remained until 1930, when the gallery would close permanently.Rosa Maria Malet, Joan Miró, Edicions 62, 1993, {{ISBN|84-297-3568-2}}

1925–1927: Salvador Dalí

File:Salvador Dalí, Federico García Lorca, Barcelona, 1925.jpg|thumb|Salvador Dalí and Federico García LorcaFederico García LorcaThe exhibition of Salvador Dalí, from 14 to 27 November 1925, was the artists first solo exhibition.Exposició Salvador Dalí, Galeries Dalmau, 14–28 November 1925, exhibition catalogue At the time Dalí was not yet immersed in the surrealist style for which he would later become famous. The exhibition among the public and critics was well received. The following year he exhibited again at Dalmau, 31 December 1926 to 14 January 1927, with support of the art critic {{Ill|Sebastià Gasch|ca}}.Exposició de Salvador Dalí, Galeries Dalmau, Passeig de Gràcia, 31 December 1926 – 14 January 1927, exhibition catalogueExposició de Salvador Dalí, Galeries Dalmau, Passeig de Gràcia, 31 December 1926 – 14 January 1927, exhibition catalogue (other version)During the mid-1920s, the gallery scene in Barcelona was very sophisticated, organized and complex. Dalmau was faced with competition in 1925 when the Maragall brothers—{{ill|Joan-Antoni Maragall|ca|Joan-Antoni Maragall i Noble}}, youngest son of the poet Joan Maragall, and Raimon Maragall—purchased the gallery Sala Parés, joining the world of galleries and energizing the market. Sala Parés became a rival of Galeries Dalmau, since it attracted an important branch of artists (Modernism and Noucentisme), formerly promoted by Dalmau and {{ill|Galeries Laietanes|ca}} (founded in 1915).

1926: Exposició de Modernisme Pictòric Català

This exhibition included a group of Catalan artist, and a group of European artists. Josep Dalmau exhibited three of his own works, along with Miró, Dalí, Torres-García, Sunyer, Junyer, Mompou, Cassanyes, and others. Also present were the works by Gleizes, Laurencin, Picabia, Weber, Vlaminck, Dufy, Delaunay, and Grunoff.Exposició de Modernisme Pictòric Català, Galeries Dalmau, Passeig de Gràcia, 16 October – 6 November 1926 (catalogue)

1927: Federico García Lorca

Josep Dalmau, Salvador Dalí, J. V. Foix, Josep Carbonell, M. A. Cassanyes, Lluís Góneora, R. Saínz de la Maza Lluís Montanyà, Rafael Barradas, and J. Gutiérrez Gílí-Sebastià Gasch invited Federico García Lorca to exhibit drawing at the Galeries Dalmau, from 25 June – 2 July 1927.Exposició de dibuixos de Federico García Lorca, Galeries Dalmau, 25 June – 2 July 1927, Barcelona (invitation and catalogue)Lorca's works were a blend of popular and avant-garde styles, complementing the artists poetry collection, "Canción" (Song), which was printed a month prior to the exhibition. Both his poetry and drawings reflected the influence of traditional Andalusian motifs, Cubism, and a preoccupation with sexual identity. Several drawings consisted of superimposed dreamlike faces (or shadows). He later described the double faces as self-portraits, showing "man's capacity for crying as well as winning", inline with his conviction that sorrow and joy were inseparable, just as life and death.Leslie Stainton, Lorca - a Dream of Life, Bloomsbury Publishing, 2013, {{ISBN|1448213444}}In a sketch titled The Kiss, he drew a face much like his own, attached at the lips with another face, the profile of which resembled Dalí. Dalí had also drawn Lorca's face next to his own. Dalí later wrote of this period in his life as an artist, "for the duration of an eclipse", Lorca's shadow "came to darken the virginal originality of my spirit and of my flesh." Lorca too was consumed by Dalí, something visible in both his Cubist idiom and Surrealist syntax. The exhibition included a recognizable portrait of Dalí (cat. no. 14), part of a series Lorca had drawn at the time.Lorca's exhibition attracted less attention than Dalí's, though there was some favorable press coverage, mainly by his friends, Dalí included. To Lorca's surprise, he did sell four drawings. Once the exhibition completed he gave the rest of the drawings to his friends.

1929: Art Modern Nacional i Estranger

The Exhibition of Modern National and Foreign Art took place at Galeries Dalmau, Passeig de Gràcia, 31 October through 15 November 1929. Artists included Hans Arp, Sophie Taeuber-Arp, André Lhote, Piet Mondrian, Otto van Rees, Otto Weber, Theo van Doesburg, Otto Freundlich, Georges Vantongerloo, Jean Helion, Gustavo Cochet, along with large contingent of Catalan artists.Exposició d'Art Modern Nacional i Estranger, Galeries Dalmau del Passeig de Gràcia, del 31 October through 15 November 1929Reviews included a lengthy exposé in La Gaceta Literaria by Sebastià Gasch, particularly on the Cubist aspect of the exhibition,Sebastià Gasch, La Inaugural de las Galerías Dalmau, La Gaceta Literaria, November 1920 and by {{Ill|Rafael Benet|ca}}, under the pseudonym Baiarola, in La Veu de Catalunya.Rafael Benet (Baiarola), Exposicio Art Modern Nacional i Estranger, Vida Artística, La Veu de Catalunya, Any 39, núm. 10438-10451 (16-30 nov. 1929), Sunday 16 November 1929, p. 4, Biblioteca de Catalunya

1930: Àngel Planells

Angel Planells was a surrealist painter. This was the artists first solo exhibition.weblink" title="web.archive.org/web/20071009053132weblink">Planellsurrealista. Biography of Angel Planells in english: pp. 258-275weblink" title="web.archive.org/web/20090615045558weblink">Angel Planells Foundationweblink" title="web.archive.org/web/20110713132906weblink">Work of Planells in the Museo Nacional Centro de Arte Reina Sofía

1930: Gallery closes

(File:Josep Dalmau, in his office at the Galeries Dalmau, 1920s.jpg|thumb|Josep Dalmau, in his office at the Galeries Dalmau, carrer Portaferrisa, 18, 1911-1923)The closing of Galeries Dalmau was possibly due to several factors: the use of operational procedures obsolete in the art market of the twenties, expenses, increasing competition, and the low profitability obtained from the sales. Sebastià Gasch, attributed the demise of Galeries Dalmau to the attitude of Josep Dalmau, "the almost absolute disappearance of that eagerness of selection that presided over his old galleries." He also pointed out, "Galleries Dalmau lost all their ingenuity when moving from the intensity of the Gothic Quarter of Barcelona—Portaferrissa—to the dilapidated Passeig de Gràcia."Sebastià Gasch, Inaugural de les Galeries Dalmau, L’Amic de les arts, núm. 30, December 1928Josep F. Ràfols, Comiat a les Galeries Dalmau, El Matí, 28 November 1930In 1936, Dalmau became president of the Associació d’Artistes Independents and drafted its manifesto.Associació d’Artistes Independents, 1936, catalogueJosep Dalmau i Rafel, Enciclopèdia.catAssociació d'Artistes Independents. Primer Saló 1936. Exposició del 30 Abril Al 25 Maig, Catàleg en línia de l'Arxiu Municipal de BarcelonaInauguració del I Saló de l'Associació d'Artistes Independents, 1936, Catàleg en línia de l'Arxiu Municipal de Barcelona He died the following year.

Artists exhibited

{{Div col|colwidth=12em}}Acín Aquilué, RamónAgero, AugustAmat Pagès, JosepAragay, JosepAymat, TomàsBadrinas Escudé, AntoniBallesté, JacintBardas, Nicolau IsidroBarradas, RafaelBasiana Arbiell, EvaristBechini, GabrielBegué, HortenseBeltran Sanfeliu, JosepBenet Vancells, RafaelBergnes, GuillemBlanchard, MaríaBlanes, CamiloBosch Canals, AndreuBoussingault, Jean-LouisBraque, GeorgesBréton, AndréBurty, FrankCamarasa, F.Camps, FrancescCanals, RicardCano, ManoloCarles Rosich, DomingoCassanyes, MagíCastanys, ValentíCénac Bercciartu, EnriqueCharchoune, SergeCid, RemigioClapés Puig, AleixCliment, EnriqueCochet, GustavoColom, JoanCoscolla Plana, FeliuCosta, MiquelCosta, PereCross, Henri-EdmondCueto, GermánDalí Domènech, SalvadorDalmau Rafel, JosepDam, BertilDe Regoyos, DaríoDe Togores Llach, JosepDelaunay, SòniaDerain, AndréDonskaia, TatianaDuchamp, MarcelDufy, RaoulDufy, JeanDunoyer de Segonzac, AndréDunyach Sala, JosepElias Bracons, FeliuEnguiu Malaret, ErnestEspinal Armengol, MariàEstivill, RicardFabrés, JúliaFernández Peña, ManuelFerrer, AgustíFigueras, LlàtzerFlores Garcia, PedroFriesz, Emile-OthonGaray, LuisGarcía Lorca, FedericoGarcía Maroto, GabrielGausachs Armengol, JosepGenover, IgnasiGérardin, Marthe-AntoineGernez, Paul-ÉlieGilberto, LluísGimeno Arasa, FrancescGimeno, MartíGleizes, AlbertGol, Josep MariaGoller, JosephGómez dela Serna, RamónGómez, HeliosGonzález SevillaGosé Rovira, XavierGottlieb, LeopoldGris, JuanGrunhoff, HeleneGuàrdia Esturí, JaumeGuarro, JoanGüell, XavierGusef, KallinicGuyás, AnHayden, HenriHerbin, AugusteHermann-Paul, René GeorgesHoffmann, RobertHoms Ferrés, ElviraHumbert Esteve, ManelJack, Georges (?)Jernàs, ElsaJönzen, HadarJou, LluísJujol, Josep MariaJunyer, JoanKammerer, ErnstLabarta, FrancescLagar, CelsoLagut, IrèneLaprade, PierreLaurencin, MarieLe CorbusierLe Fauconnier, HenriLéger, FernandLeyde, KurtLhote, AndréLipchitz, JacquesLópez Morella, RamónLosada, ManuelLotiron, RobertMaeztu, Gustavo deMalagarriga Ormat, ElviraManguin, HenriMarchand, JeanMarès, FredericMaristany de Trias, LuísMarquès Puig, Josep MariaMarquet, AlbertMatilla Marina, SegundaMatisse, HenriMercadé, LluísMetzinger, JeanMimó, ClaudiMiret, RamonMiró, JoanMompou, JosepMoreau, Luc-AlbertMoreno, ArturoMoya Ketterer, JoséMutermilch, MelaNatali, RenatoNonell, IsidreObiols Palau, JosepOlivé, JacintOrtiz de Zárate, ManuelÖström, FolkePalau Oller, JosepPascual Rodés, IvoPascual Vicent, J.Pérez Moro, JulioPicabia, FrancisPicasso, PabloPichot Gironès, RamonPlanas, PauPlanells Cruañas, ÀngelPortusach de Mascareñas, JosefinaPrat Ubach, PerePretzfelder, MaxPujó, JosepPujol Montané, JosepPujol Ripoll, JosepPujol, A. P.Pujols, FrancescR.de Pujulà, GermaineRàfols Fontanals, Josep FrancescRicart Nin, Enric CristòforRincón, VicenteRivera, DiegoRoqueta, RamonRoussel, Ker-XavierRuiz, DiegoRusiñol, SantiagoRuth Cahn, FräuleinSermaise Perillard, LouisSeverini, GinoSoucek, SlaviStore, EmiliSucre, Josep Maria delSunyer, JoaquímSurvage, LéopoldTimm, ErnestTorné Esquius, PereTorné, TrinitatTorres García, JoaquimTraz, Georges deValtat, LouisVallotton, FélixVañoVan Dongen, KeesVan Rees, OttoVelásquez Cueto, LolaVèrgez, EduardVila Pujol, JoanVilà, SalvadorVillà Bassols, MiquelViolet, GustaveVives, MarioVlaminck, MauriceWeber, OttoXarraga, AngelYsern Alié, Pere {{div col end}}

References

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External links

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