PABELLON DE LAS BELLAS ARTES O ARTE ANTIGUO
El Pabellón o Palacio de las Bellas Artes o Arte Antiguo, que es el actual Museo Arqueológico de Sevilla, fue proyectado en 1910 dentro del primer diseño para la Exposición Ibero-Americana, entonces Hispano Americana, y se inscribe formando parte del conjunto de la Plaza de América y del Parque de Maria Luisa. El primer concurso para su construcción, quedó desierto por lo que hubo que esperar hasta 15 de junio de 1912, para que se again published in the Official Gazette of the Executive Committee, with the Palace of Industrial and Decorative Arts - current Mudejar Pavilion - with a budget, amended the first, for a total of 746,328.08 pts., although in the end almost doubled this amount. Seven years later finalized in 1919.
citizenship was in a state of tension due to the absence of a year and a half date, then the opening scheduled for 1914, were written only the general floor plan, and draft the permanent pavilions , Fine Arts and Industries, and was rethinking its position so that questioned the very conclusion of Competition and therefore the construction of buildings. For this reason, urgings, and shortly after the date fixed for the closing date for submission of tenders - July 15 - work began.
Designed by Aníbal González and named Renaissance palace, was the most expensive building in the Plaza de America, doubling the budget of Mudejar Pavilion, from the outset it was decided that the future use of the museum functions had. Aníbal González therefore studied the major museums in Europe before the space available, primarily seeking to achieve two objectives, according to its author exposed Government's report, a museum should be designed for the works that he exhibited: a good movement of visitors through the various rooms and minimal ornamentation, and the second top lighting from them.
This was done using the criteria of many small size rooms, to avoid the agglomeration of works in the same room, and the use of neutral-colored walls preferably plain gray, with a decoration on top to prevent distracting the viewer, receiving indirect top lighting.
citizenship was in a state of tension due to the absence of a year and a half date, then the opening scheduled for 1914, were written only the general floor plan, and draft the permanent pavilions , Fine Arts and Industries, and was rethinking its position so that questioned the very conclusion of Competition and therefore the construction of buildings. For this reason, urgings, and shortly after the date fixed for the closing date for submission of tenders - July 15 - work began.
Designed by Aníbal González and named Renaissance palace, was the most expensive building in the Plaza de America, doubling the budget of Mudejar Pavilion, from the outset it was decided that the future use of the museum functions had. Aníbal González therefore studied the major museums in Europe before the space available, primarily seeking to achieve two objectives, according to its author exposed Government's report, a museum should be designed for the works that he exhibited: a good movement of visitors through the various rooms and minimal ornamentation, and the second top lighting from them.
This was done using the criteria of many small size rooms, to avoid the agglomeration of works in the same room, and the use of neutral-colored walls preferably plain gray, with a decoration on top to prevent distracting the viewer, receiving indirect top lighting.
P lanta roof Regarding the latter objective was that brought more problems to the later conservative architects involved in building conservation. From the beginning we had tried to respect the central light that had given the building, but in practice has shown the disadvantages that entails, first the inevitable leaks and that, for lack of a permanent team of maintenance, caulking crystals, which were the cover, there was renewed at the right time of hardening and hence the filtration of water in the rainy season and on the other side due to extreme weather Seville in summer, high temperatures, which were suffering in the various halls to installation of air conditioning.
Regarding the first objective of the smooth flow of visitors through the rooms, it should be noted that the provision was correct longitudinal cross bodies punctuated building, connecting the internal movement of the rooms, with open galleries, that put visitors in touch with landscaped gardens surrounding the building exterior, this solution has a background in English Dilwich Gallery. And the round central oval of the set, inspired by the Vatican Museums and other details reminiscent same German models in Munich.
Detail an open gallery which connects with all the building .
neoplateresco style is clearly marked on both the façade and the interior. As mentioned earlier, the Roman spirit and worship of the Western Seville, will be the glory of discovery and colonization of America, and aesthetic values \u200b\u200bmost beloved by the Academy are based in the Renaissance that flooded the entire building, and he saw from all possible examples.
architect the building structure with a longitudinal block pierced by taking five bodies as shown in Salamanca Palacio de Monterrey, as well as the Universities of Salamanca and Alcalá, with its courtyards of columns taken abroad by arcaded galleries, with a deliberately restrained appearance.
neoplateresco style is clearly marked on both the façade and the interior. As mentioned earlier, the Roman spirit and worship of the Western Seville, will be the glory of discovery and colonization of America, and aesthetic values \u200b\u200bmost beloved by the Academy are based in the Renaissance that flooded the entire building, and he saw from all possible examples.
architect the building structure with a longitudinal block pierced by taking five bodies as shown in Salamanca Palacio de Monterrey, as well as the Universities of Salamanca and Alcalá, with its courtyards of columns taken abroad by arcaded galleries, with a deliberately restrained appearance.
Facade
rear facade, the gaps the two arches were closed and placed the twin windows. Replacing the original stained glass windows.
access to the lobby and front door, beautifully carved
Gallery front exterior. Outside, the imposing facade crowned by a beautiful pediment accompanied by a delicate crest that runs along the roof of the building. Through its portal, we enter a small hall, where we find the monumental mahogany door main entrance, with allegorical subjects and express indication of names of artists, musicians, writers and painters, especially the Seville Murillo, within brackets in relief.
abroad are also many decorative elements as friezes and statues, among them the personification of the art, with statues in niches, and we appreciate the ceramics, history, and the most curious of Archaeology, represented by a beautiful lady standing, lying on his right leg, with the left hand resting on a handle of a huge peak, right, missing, raised to the height of the head holds a piece to behold.
central oval rotunda viewed from the front door, the background you can see the windows that faced the back wall, which later were blinded . To provide the necessary sculptures for decoration, was a contest National failed in 1913, consisting of: eight statues in the niches outside (Architecture, Painting, Sculpture, Music, Literature, History, Archaeology and Industrial Arts), four "tutti" shields for the auction of the four corners and four allegorical sculptural groups (Art, Science, Work and the Genie) for the four niches in the Oval Room, which is then placed in the Glorieta de Covadonga. Lorenzo won the Coullant Valera, who was associated with Manuel Delgado Brackembury.
Detail of the gate and front door access.
The project was executed with virtually no substantive changes except the removal of side and rear doors, which became open galleries, similar to those that surround the building, where visitors could rest between hall and room leading to one of the most unknown and yet more beautiful on the outside of the flag, its balconies, classic Renaissance style, its corners are decorated with shields accompanied Dragons.
Balconera at the end of the building where the project was removed from the side access, exterior and interior views .
The building was designed with two floors, currently the interior is arranged in three, the basement was set up functions to isolate the humidity the exhibition floor and to allow pipelines, utilities (water, electricity, heating, sewage , etc.) were visible.
As a museum, today this plant basement serves as a statement of prehistory, Roman low as exposure to the Arab period, and the upper floor houses various offices of the Archaeological Museum, the latter of new construction. Without doubt the most impressive room is the oval room, located behind the main entrance and decorated in marble, has one of the finest collections of classical sculpture taken on English soil, leave this room are the two wings.
distribution in small rooms decorated little, lest they distract attention to the exhibits with indirect light beams and roof. Something that is normal today in buildings for this purpose, but at that time was a novelty, and it was the construction of the basement to isolate the building from moisture.
works suffered long delays due to financial problems, another factor in the delay of construction were the dissensions which occurred shortly after beginning the work between the contractor Aníbal González and son of Miguel Fernández Palacios. When the company undertook the construction of the building, did not know the difficulties entering the emptying of artificial ornamental stone, and other issues, which led to the resignation of José Gómez Millán as Enterprise Architect y la rescisión del contrato en 1915 por el Comité, adjudicándose mas tarde la construcción a Antonio Granado Olier; cuando se inauguró la Plaza de América aún no se habían finalizado las obras, concluyéndose estas en 1919.
The building was designed with two floors, currently the interior is arranged in three, the basement was set up functions to isolate the humidity the exhibition floor and to allow pipelines, utilities (water, electricity, heating, sewage , etc.) were visible.
As a museum, today this plant basement serves as a statement of prehistory, Roman low as exposure to the Arab period, and the upper floor houses various offices of the Archaeological Museum, the latter of new construction. Without doubt the most impressive room is the oval room, located behind the main entrance and decorated in marble, has one of the finest collections of classical sculpture taken on English soil, leave this room are the two wings.
distribution in small rooms decorated little, lest they distract attention to the exhibits with indirect light beams and roof. Something that is normal today in buildings for this purpose, but at that time was a novelty, and it was the construction of the basement to isolate the building from moisture.
works suffered long delays due to financial problems, another factor in the delay of construction were the dissensions which occurred shortly after beginning the work between the contractor Aníbal González and son of Miguel Fernández Palacios. When the company undertook the construction of the building, did not know the difficulties entering the emptying of artificial ornamental stone, and other issues, which led to the resignation of José Gómez Millán as Enterprise Architect y la rescisión del contrato en 1915 por el Comité, adjudicándose mas tarde la construcción a Antonio Granado Olier; cuando se inauguró la Plaza de América aún no se habían finalizado las obras, concluyéndose estas en 1919.
El Pabellón es una muestra del eclecticismo de Aníbal González, haunted by renewed Sevillana architecture, reinventing the previous styles.
Fine Arts Pavilion, is without doubt one of the most impressive buildings of the twentieth century in Seville, in addition to being a museum in itself with many sculptures, wood paneling, marble, etc. throughout the entire building, and Of course one of the best mixes of eclecticism in Sevilla, that if away from the brick neomudejar and do so characteristic of the work of Anibal Gonzalez.
Drawing building project.
The works exhibited were free transfers and private institutions, than five hundred in number, so that the Commission was forced to reject many offers at the lack of space in photographic reportage can appreciate this.
The provenance of the exhibits was very diverse, mostly from churches in Andalusia and Extremadura and consisted of paintings, sculptures, furniture, jewelry, sacred ornaments, weapons, jewelry and much more. The quality was very varied, but many were actually very valuable, with authors such as Rafael, Alejandro Fernandez, Titian, El Greco, Zurbaran, Caravaggio, Murillo, Valdés Leal and Goya. The installation was mottled and no chronological order for lack of space.
Detail different rooms of the Palace of Fine Arts, left Oval Room.
Shortly after the international exhibition closed on 28 November 1930 there was a significant collapse of the building being owned by a municipality, it seems that was no purpose, until the years of civil war, which would serve as a hospital for Italian soldiers, of which there are some graphic evidence on the walls praising the figure of the Duce.
After the war, the building was again inactive, until December 31, 1941, when the mayor of Seville D. Miguel Ibarra y Lasso de la Vega gave the Ministry of National Education with the sole purpose of installing the Provincial Archaeological Museum.
on the rear façade of the building was built in 1921 the square of the Virgen de los Reyes, which could enjoy a beautiful sculpture a semicircular wall of brick and trim agramillado notched at six major banks are fitted with tiled back and seat, on these pestantes wrought iron chains holding it with potted flowers.
All this was done in Ceramics and glass, and brick carving. It is not known the reasons for the destruction of this monumental source and destination of the figures, except that of the Virgen de los Reyes preserved in the College-Home of San Fernando, although it is thought they were withdrawn, to prevent deterioration , in the late thirties or early forties of last century.
front view sculpture.
current state of the image of the Virgen de los Reyes, at the College of San Fernando Home
Today the roundabout is very processed, by what works are being carried out recently on it to get its incorporation to the Park and its use as a performance space and the return of symbolism that once given a name.
Architecture - Literature - Music
Detail of one of the buildings and transverse crest and frieze the back porch.
THE SPANISH FILM ARCHIVE edited a book entitled "THE EXHIBITION OF 1929" TO BE PICKED UP IN THE PICTURES OF THE EXHIBITION OF LATIN AMERICAN AND INTERNATIONAL SEVILLA BARCELONA
BELOW IS INSERTED A COMPILATION OF VARIOUS COURTS RELATED WITH THE FLAG OF ARGENTINA TO APPEAR In this work
SOURCES:
- THE HALL OF FINE ARTS American Exhibition of 1929, Fernando Fernández Gómez. SURVEYOR No. Magazine. 24 / DECEMBER 1987
- HISTORY American Exhibition in Seville in 1929, Eduardo Rodríguez Bernal
- Flags of the Latin American Exhibition, Alberto Villar Movellan
The American Exhibition "Newspaper Municipal Funds"
- the site of the Ibero-American Exhibition , urbanized area, FLAGS AND CONSERVATION, José María Méndez
Andalusia Head and America in the Twentieth Century, Proceedings of the Sixth Conference of Andalusia and Latin
1987 - Exhibit Guide 1929-1930 IBERO
- Regionalism ARCHITECTURE 1900-1935 .- p. .- Alberto Villar Movellan. 280
- THE SEVILLE CICERONE. MONUMENTS AND FINE ARTS, Alejandor Guichot and Sierra
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