exhibition, 1912, Carrer de Portaferrissa, 18, Barcelona Mid-1911 announced the 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.
1912: Exposició d'Art Cubista , 1910–11, ''L'Abondance
, Haags Gemeentemuseum; Jean Metzinger, 1911, Le goûter (Tea Time), Philadelphia Museum of Art; Robert Delaunay, 1910–11, La Tour Eiffel''. Published in
La Veu de Catalunya 1 February 1912 , 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 Gris, 1912,
Guitar and Glasses, or
Banjo and Glasses. Published in
La Veu de Catalunya, 25 April 1912 , 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 ,
Bodegón; August Agero (sculpture);
Jean Metzinger, 1910–11,
Deux Nus, Two Nudes, Gothenburg Museum of Art;
Marie Laurencin (acrylic);
Albert Gleizes, 1911,
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, 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. And now, the second exhibition beyond the French border was about to take place; the first devoted entirely to Cubism. This 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. 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. 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.' Entrance was strictly by personal invitation. Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist 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. As editor-in-chief of 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. giving "a plastic consciousness to our instinct", and leading to a more profound truth—a "truth that only the intelligence grasps." 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. and
El Noticiero Universal 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. 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. The following year
Nude Descending a Staircase, No. 2 was exhibited at the
Armory Show where it became the subject of endless scandal. Art 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. Cubism subsequently became one of the most influential art movements of the 20th century; impacting developments in
Futurism,
Suprematism,
Dada,
Constructivism, De Stijl and
Art Deco. while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements.
Selected works exhibited or reproduced in the press File: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 × 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, 1912 File: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 × 15 cm,
Musée National d'Art Moderne, Centre Georges Pompidou, Paris. Exposició d'Art Cubista, 1912 File: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 × 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, c. 1911,
Nature morte (Compotier et cruche décorée de cerfs), oil on canvas, 93.5 × 66.5 cm. Exposició d'Art Cubista, 1912 File:Recoveredgleizes.jpg|
Albert Gleizes, 1911,
Le Chemin, Paysage à Meudon, Paysage avec personnage, oil on canvas, 146.4 × 114.4 cm. Exhibited at Salon des Indépendants, 1911, Bruxelles, 1911, Exposició d'Art Cubista, 1912 File: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 × 91.5 cm. Reproduced frontispiece (titled
Les Maisons, dated 1910) catalogue Galeries Dalmau, Exposició d'Art Cubista, Barcelona, 1912 File: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 × 113.3 cm,
Philadelphia Museum of Art. Exposició d'Art Cubista, Barcelona, 1912 File: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, 1912 File: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 × 41.9 cm,
Philadelphia Museum of Art. Exposició d'Art Cubista, 1912 File: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 × 58 cm, private collection. Exposició d'Art Cubista, Barcelona, 1912 File: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.
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), (1913), (1913–14), (1914),
Gustavo de Maeztu (1914),
Celso Lagar (1915). By the time this solo exhibition made it to the walls of Sala Dalmau, van Dongen was already known in Catalonia. Eugenio 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. In
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".
1916: Serge Charchoune, Helene Grunhoff The exhibition of
Serge Charchoune and Helene Grunhoff took place 29 April through 14 May 1916. 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. 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. The two exhibited again at Galeries Dalmau in 1917. , 1912–13,
Les Joueurs de football (Football Players), oil on canvas, 225.4 × 183 cm,
National Gallery of Art, Washington D.C. 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 ,
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). Spain 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). Gleizes' solo exhibition at Dalmau took place 29 November – 12 December 1916, generating considerable press coverage, for example in
Vell i Nou, and by
Joan Sacs (Feliu Elias), who under another pseudonym, Apa, drew a caricature of Gleizes, in
La Publicidad. Art 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. 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. The 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. Reports are that the show was not a success, his work was ridiculed and defaced. 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), as well as the influence of van Dongen and Gleizes. 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.
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. 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. 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. Artists 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 de Vlaminck, and
Manuel Ortíz de Zárate. 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. Before the opening, a lecture on modern art was delivered at the by
André Breton, who once wrote that "Paris is bigger than Picabia, but Picabia is the capital of Paris." He also wrote the preface published in the catalogue for the occasion: "... 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 . File:Francis Picabia, Flamenca, 391, n. 3, March 1, 1917.jpg|
Francis Picabia,
Flamenca, 391, n. 3, March 1, 1917 File:Francis Picabia, Francis chante le Coq, 391, n. 14, November 1920.jpg|Francis Picabia,
Francis chante le Coq, 391, n. 14, November 1920 File:Francis Picabia, 391, n. 13, July 1920.jpg|Francis Picabia, ''Ce numéro et entouré d'une deníelle rose.'' Page from 391, n. 13, July 1920 File:Francis Picabia, Lampe Illusion, 391, n. 3, March 1, 1917.jpg|Francis Picabia,
Lampe Illusion, 391, n. 3, March 1, 1917 File:Francis Picabia, Marie, Barcelone, 391, n. 3, March 1, 1917.jpg|Francis Picabia,
Marie, Barcelone, 391, n. 3, March 1, 1917 File:Francis Picabia, Molèculaire, 391, No. 8, Feb. 1919.jpg|Francis Picabia, Molèculaire, 391, No. 8, February 1919 File: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, 1917 File:Francis Picabia, Phosphate, Littérature, No. 6, New Series, Paris, 1 November, 1922.jpg|Francis Picabia,
Phosphate, Littérature, No. 6, New Series, Paris, 1 November 1922 File:Francis Picabia, Américaine, 391, n. 6, July 1917.jpg|Francis Picabia,
Américaine, 391, n. 6, July 1917 File:Francis Picabia, Âne, 391, July 1917.jpg|Francis Picabia,
Âne (English:
Donkey), 391, July 1917 File: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 × 54 cm,
RISD Museum File:Francis Picabia, Astrolabe, Galeries Dalmau exhibition catalogue, 1922.jpg|Francis Picabia,
Astrolabe, Galeries Dalmau exhibition catalogue, 1922 File:Francis Picabia, Thermomètre pour aveugles, Galeries Dalmau exhibition catalogue 1922.jpg|Francis Picabia,
Thermomètre pour aveugles (
Thermometer for the Blind), Galeries Dalmau exhibition catalogue 1922 File:Francis Picabia, 1922, Femme Espagnole (Espagnole à la cigarette).jpg|Francis Picabia, 1922,
Femme Espagnole (
Espagnole à la cigarette), watercolor, gouache and pencil on paper, 72 × 51 cm, private collection , Passeig de Gràcia, Barcelona, 1925–26
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.
1925–1927: Salvador Dalí , Turó Park de la Guineueta, Barcelona, 1925 The exhibition of
Salvador Dalí, from 14 to 27 November 1925, was the artists first solo exhibition. 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 . 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—, 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 (founded in 1915).
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. 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. 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." Reviews included a lengthy exposé in
La Gaceta Literaria by Sebastià Gasch, particularly on the Cubist aspect of the exhibition, and by , under the pseudonym Baiarola, in
La Veu de Catalunya.
1930: Àngel Planells Angel Planells was a surrealist painter. This was the artist's first solo exhibition. ==1930: Gallery closes==