Aleix Clapés

Clapés was born in Vilassar de Dalt, Catalonia, in 1850. Very little information is known about his personal life. He was the youngest child in a large family. He was the son of Villa Teresa Puig and Antonio Pons Clapés. He was primarily raised in Vilassar. Later, he married Gumersinda, a woman from Rues. She was a widow who was originally married to Mariano Ferré Bergues and had two children. Clapés and Gumersinda later had a daughter together, Teresa.[1]

When he lived to Reus, Spain, he found his mentor and fellow painter Franco Hernandez.[2] With a good understanding of the basic artistic skills, he went to Barcelona where he enrolled in the Escola de la Llotja where he learned from Claudi Lorenzale. Majority of Aleix Clapés' works were in opposition of Claudio Lorenzale, which led to Clapés being one of Lorenzale's favorite students. Lorenzale was active in a group called the Natzaren painters, which was a group of German painters who were led religiously by Frederick Overbeck. Clapés was a primary disciple of Friedrich Overbeck and was later appointed professor at the Escola de la Llotja.[1]

Clapés later went to Paris, France to further his education where he became a pupil of Eugène Carrière.[3] It also is assumed that Clapés took lessons at the Academy of the Palette Utrillo.

He moved to Uruguay and Rome. Where he worked on mural painting techniques. He also studied the works of Michelangelo and Raphael.

Clapés’ best professional years occurred at the turn of the century. He received a minimal amount of social recognition during this time period. These accomplishments allowed him to purchase a home in the Rambla de Catalonia. He also opened a store, where he sold perfumes, gifts, and art objects.

The amount of artwork in the late 19th and early 20th centuries were rich in Catalonia, including such artists as Santiago Rusiñol, Ramon Casas, Antonio Gaudi, and Lluis Domenech i Montaner. Many of these people were colleagues as well as competitors in the art world with Clapés.[1]

Much of Clapés’ art brought individuals closer to spirituality, mysticism, and prevailing.[4] He quickly gained confidence. Much of his style displayed had been influenced by Overbeck. He had a very colorful palette, closest to El Greco than to Overbeck.

The public's lack of interest eventually blossomed into public recognition. His talent did not go unnoticed and quickly entered the studio of S. Juan Hernandez. He specialized in drawings and paintings, who from the outset was considered one of the best and most gifted students.

It appears that Aleix Clapés’ first works was the portrait of a famous poet, Joaquim Maria Bartins. It was later exhibited at the Reading Center of Rues. It is currently on display at the Rues City Hall. The portrait was painted during a time when Joaquim Maria Bartins was ill. It portrayed much of her pain and suffering during this time of illness. The portrait received great reviews by Lo Somatent, which was the first newspaper to be printer in Catalan Rues.

He also painted a painting of Hercules on the exterior of the east side of the Palau Guell. Hercules was the mythical founder of Barcelona. Guell had an infatuation with Hercules. Hercules was present on the lateral wall parallel to the La Rambla in a large painting by Aleix Clapés.[1] He also painted The Rapture on the walls of Palau Güell, where Hercules, the hero, had been portrayed as the main protagonist.[8]

He also painted El Prisionero. The English translation is "The Prisoner". It was charcoal drawing on the Civil War in Uruguay. He also painted El Peon (English translation: "The Pawn"). It was purchased by Trotsky in Paris in 1920 for 2,000,000 francs, which was France's currency prior to the euro. It was then taken to Kremlin. Trotsky was the organizer of the Red Army and advocated for forced military drafts.[3]

Clapés' Hercules Searching for the Hesperides was painted with oil on canvas circa 1890. It was donated to Museu Nacional d'Art de Catalunya by Maria Lluisa Guell in 1928, but as of January 2016 is on loan to the Palau Güell. It has been selected for the project "Partage Plus – Digitising and Enabling Art Nouveau for Europeana".[9]

Allegory of Doctor Robert was painted with oil on canvas circa 1890–1902. It was donated to Museu Nacional d’Art de Catalunya by Pere Mila Camps in 1933 and is displayed at the Museu Nacional d’Art de Catalunya.[10]

Clapés' Self-Portrait was painted with oil on canvas circa 1902. It was purchased by the Museu Nacional d’Art de Catalunya in 1954. It has been selected for the project "Partage Plus – Digitising and Enabling Art Nouveau for Europeana".[11]

Portrait of Manuel Dalmau Oliveres (1864–1923) is an oil painting on canvas circa 1915–1919. It was donated to Museu Nacional d’Art de Catalunya by Albert Bernis in 1942. It is on display at the Museu Nacional d’Art de Catalunya. It has also been selected for the project "Partage Plus – Digitising and Enabling Art Nouveau for Europeana".[12]

Clapés' Saint Isabel Offering the Queen’s Crown to a Beggar is an oil painting on canvas circa 1890–1895. It was donated to Museu Nacional d’Art de Catalunya by Pere Mila I Camps in 1933. It is stored in the archives at the Museu Nacional d’Art de Catalunya. It has been selected for the project "Partage Plus – Digitising and Enabling Art Nouveau for Europeana."[13]

Christ and Mary Magdalene is an oil painting on canvas circa 1890–1918. It was donated to Museu Nacional d’Art de Catalunya by Pere Mila I Camps in 1933. It is stored in the archives at the Museu Nacional d’Art de Catalunya. It has been selected for "Partage Plus – Digitising and Enabling Art Nouveau for Europeana".[14]