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opinion | Reflections around the old Plaça d’Antonio López

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The space occupied in the center of the Monument to Antonio López y López (Comillas, 1817-Barcelona, ​​​​​​1883) is occupied on the occasion of the celebration of the Universal Exhibition of Barcelona in 1888. The Hotel Internacional de The exhibition, the work of Lluís Domènech i Montaner and the back of the Llotja building will frame the monument to the Marquis of Comillas for another month. It is evident that the Barcelonins of the time, authorities, citizens, intellectuals, poets, historians, classes mitjanes-baixes i, sens dubte, hundreds of workers working in one of the many companies that López d’ençà will create, who had returned to Barcelona in 1848, escampades per Barcelona, ​​​​​​Cantàbria, Amèrica or Àsia, both bons ulls will accept the implementation of the monument in a lloc privilegiat.

Anys després, with the opening of Via Laietana, the monument to the Marquis will maintain its status as an element of public art, marked by the Llotja and two new buildings, also born with the will to monumentalize the city from the entrance to Port of Barcelona, ​​​​all two facing the sea and with several corner towers, round and slender: the Correus building, the first on the street, unfortunately projected in 1914 (Josep Goday and Jaume Torres, architects) is not to be built ends 1926; i, altre sang, the old building of the Companyia Transmediterrània, by the architect Juli M. Fossas (n.2, 1921). Amb these four artistic works start from the coast, Barcelona guanyava prestige urban and monumental like the Catalan capital.

Currently the square is given by Idrissa Diallo, in the record of another emigrant who will not have the manner of Mateixa Antonio López

Parallelisms and Alternatives in Public Street Art

Forever now it is the fact that every historical period has erected monuments, both statues and sculptural groups, both of which have left to society or part of it an important retreut homage to a cause or a specific personality. Generally, these monuments commemorate the career of a famous person, a poet, a military who fought battles, an entrepreneurial industrialist, an architect, an artist, a politician, an icon, one or more gods and heroes, and some heroes or soldiers vents. The suggestions were generally made by the group or social class to which their idols belonged.

Barcelona has established a lloc força stigmatitzat pel que fa as serious monuments, yes seguin de caire politic, culturel o economico. The way that marked the monument to Antonio López y López is witnessed at the end of the 20th century by some other monuments or monuments such as those of Hercules or Neptune, withdrawn by the municipality due to urban initiatives or changes in the city’s transformation . Other monuments were banished from their seus llocs by political or ideological initiatives coinciding with dictatorships: the Monument to the Quatre Barres Catalanes de Montjuïc, which wandered and, like the amazing filler, returned home. Or the monument to Dr. Robert, which will pass from the Plaça de la Universitat to the urban Magatzems and will occupy the center of the Plaça Tetuan in the democratic transition, while at the same time the equestrian statue of the dictator Franco threatened the beginnings and displayed in exhibitions. Or the Monument to the Spanish Republic and in honor of Pi i Margall, inaugurated in 1936 on the diagonal obelisk in Plaça del Cinc d’Oros and monumentalized in Plaça Lluchmajor.

These monuments, always part of the collective memory by the will of a political persuasion or an ideology, have been linked to the city as urban artistic works in which they have worked in every era, artists and architects of Renom. The Gazetteer could play a very important role in establishing criteria as to which monument is entitled to remain part of the city or to be withdrawn; That said, I feel more general about fighting careers and places. Imagine that the angel of the Font del Geni Català in the center of the Pla de Palau in Barcelona is considered by some men as a Christian trophy and the volgues without eliminating; I don’t cal dir coneixent the motto of l’escut del monument: “After God the house of Quirós”, the military promoter of drinking water from Montcada to Barcelona. It is derived from this reflection that the name of a public space could suggest violence, indifference, symbolic incantations, or toponymic or toponymic information.

Antonio López’s explanation is that if we had had the chronology of the person’s life in mind, he could have said it – since he started out as an émigré, both aged 14, who both wanted to trade and were in slaves for a time industrialists and aristocrats will arrive – and also, if we had the nou nom del lloc in mind – plaça d’Idrissa Diallo, another emigrant who will not be so lucky, but who will be a victim of the current manic slavery – , one could have repeated, plaça de l’Emigrant Emprenedor or simply del Migrant. Certainly more hauria canviat de nom, and I could summon the two monuments that speak per se sols y hora, del bé y del mal.

Raquel Lacuesta has a PhD in Art History from the University of Barcelona and will receive the 1997 National Prize for Cultural Heritage

Strange data about Antonio López

1831Antonio López, a teenager from Comillas, orfe de pare i fill d’una bulgadera of the Fernández de Castro family, both 14 years old, traveled from Cadis to l’Havana and worked as a sou in a grocery store.

1841is transferred to Santiago de Cuba to devote itself to the commercialization of European roba, especially Parisian, much appreciated by the Catalan and Spanish bourgeoisie of Cuba.

1848, traveled to Barcelona to marry with the family of another trade-enriched Indian woman, Luisa Bru Lassús. Return to Cuba.

1849, to Cuba, dedicated to trade with La California Society and began in the Antilles in the maritime transport sector with the creation of the A. López Vapor Society, the origin of the Compañía Trasatlántica de Vapores. It comes from Aleshores and is devoted to speculation on agricultural exploitation and the slave trade.

1855-1956, s’install·la a Barcelona amb seva família, first from lloguer, as porxos de Vidal-Quadras (on the coast of porxos d’en Xifré); tot seguit a l’edifici that construeix al num. 8 of Plaça Duc de Medinaceli, the plans for which he commissioned Josep Oriol Mestres in 1857.

1859Restoration of the literary competition dels Jocs Florals de poesia.

1870-1883the Palau Moja is converted into a residence and houses the shops of the López-Bru family.

1876, Mossèn Cinto Verdaguer is nomenat vaixell chaplain of the Compañía Transatlántica of the López-Bru family. Yes Aleshores is linked to the poet who would become the model for the Catalan literature promoted by the Renaissance movement.

1877extraordinari award from the Diputació de Barcelona at the Jocs Florals Jacint Verdaguer for his epic poem L’Atlàntida.

1878Antonio López and Eusebi Güell publish the poem L’Atlàntida in a deluxe edition with editor Jaume Jepús and a cover by Lluís Domènech i Montaner.

1878Alfonso XII granted Antonio López and his descendants the Marquis of Comillas.

1880Verdaguer is promoted to Master in Gai Saber as Jocs Florals.

1880s’abolix l’slavery to Cuba.

1883mor Antonio López y López to Barcelona.

1884stands the monument to López at the beginning of Via Laietana.

2016, the city council stripped the statue of López de dalt la peanya for his serious commitment to the slave trade in a country where slavery was legal. Don’t mention the famous Catalan Indians, not the Cantabrians, who will enrich this sad story.

Source elpais.com

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