“Antoni Gaudi- God’s Architect”
Talk for Creativity & Madness, Spain June 2018
Antoni Gaudi i Cornet was born 10th of June, 1852 in Reus, Catalonia, Spain. His paternal family originated in southern France from a long line of artisans, having moved to Catalonia in the 7th century. Both sides of his family were coppersmiths.
Gaudi was the last of five children, the two older children, Rosa and Franesc, were ages eight and one at his birth. Two other children, a girl and a boy, had died at ages four and two. We can imagine some degree of apprehension that his parents would have had about their fifth child, apparent by the fact that they rushed to have him baptized just hours after his birth. And he did prove to be sickly child. By age five he had been diagnosed with rheumatism, or rheumatic arthritis; was often bedridden and unable to walk. He recalled, as an adult, the family doctor predicting a short life for him if he overexerted himself. It became evident that due to his strong-willed, stubborn character, Gaudi made every effort to prove the doctor wrong.
As a child, however, instead of being able to run and play outside, he became a close observer of the natural world. He watched lizards, insects, and those “master builders,” spiders, creating their intricate webs. He was fascinated by the spirals he saw in snails, snakes, the trunks of the olive trees, and flowers emerging from their “holy chalices.” He later saw these spirals in the copper pipes crafted in his father’s workshop. He came to view spirals as the “ribs and skeleton that support the world.”
He started primary school at age six and at eleven, when many boys left school to go to work, his parents enrolled him in a Catholic school located in a former convent. He was not a particularly good student, but during this time he met two other young men, Josep Ribera and Eduard Toda, who liked to explore the countryside with him.
Together they discovered a 12th century monastery in ruins and began to design an ambitious restoration project as part of a utopian community. Their romantic plans were interrupted when Gaudi left for Barcelona in 1868. He was sixteen and his parents had mortgaged the family farm in order to pay for his continued studies. (His two friends later became successful in their fields- Ribera a prestigious surgeon and Toda a diplomat and historian.)
In Barcelona, Gaudi and his brother, Francesc, who was studying medicine, lived in a small flat in the waterfront district, just metres away from the basilica Santa Maria del Mar- a landmark of Catalan gothic architecture- and a short walk to the harbor, where he liked to contemplate the blue waters of the Mediterranean Sea. He remarked,
“The sea view is a necessity for me.”
After passing his baccalaureate and spending a summer back in Reus with his parents and childhood friends, he returned to Barcelona committed to the study of architecture. It required four more years of preparation in geometry, calculus and algebra before he would be accepted into the School of Architecture in 1874.
While he often skipped classes that didn’t interest him, in the school library he immersed himself in the architectural traditions of India, Japan and Egypt. He also studied Viollet-le-Duc, the restorer of Notre Dame, and the Moorish architecture of the Alhambra.
Among Gaudi’s student projects (and to supplement his income to pay for school) he was commissioned by Josep Fontsere to design a complex water system for a large public park on the site of an ancient citadel. Gaudi showed such technical expertise that his teacher in “Resistance of Materials” passed him without Gaudi having to sit for the exam. (Cascada- after the Trevi fountain)
Two years later, in 1876, his successful academic achievement was overshadowed by two personal tragedies. His brother, Francesc, just graduated from Medical School and just 25 yrs old, died suddenly. Only two months later, unable to cope with her grief, his mother died at age 57.
Gaudi was 24. Knowing he had to support himself and his remaining family, he worked doubly hard by providing services to other architects.
“I have to work hard to get by,” he wrote in his personal diary.
Around this time,(1876) he designed the niche for the image of the Black Virgin of Montserrat (Madonna and Child at the Santa Maria de Montserrat monastery on the Montserrat Mountain in Catalonia. She is the Patron Saint of Catalonia, an honor she shares with Saint George )
(1875-78: Compulsory military service- administrator- sick leave)
Gaudi had great confidence in his own abilities and after completing his architecture degree in 1878 – now age 26- he set up his office on the third floor of a building in the old Jewish quarter of Barcelona.
One of his first projects was to design lamp posts for the City of Barcelona to decorate and illuminate the Placa Reial, one of the most distinguished public spaces in the city. Although the lights were well-received (the helmet-like structures were a reference to Mercury, the God of Trade), he had to fight the municipal authorities to receive a decent fee. Gaudi became known for his refusal to be intimidated when he perceived injustice. (photo of Gaudi)- fair; blue eyes
Another project that year, although a modest one, set Gaudi firmly on the path of success. He was commissioned by the
owner of a luxury glove shop in the center of Barcelona, to design a glass showcase to display her products in the Spanish Pavilion at the
Universal Exposition in Paris. One of the visitors who was impressed with the display case (a cabinet made from wood, iron and glass, intricately decorated with plant details) was Eusebi Guell, heir to one of the largest fortunes in Catalonia.
Gaudi and Guell, in spite of their social differences, were united in their dedication to excellent work and a deep admiration for the history and culture of Catalonia. Shortly after their meeting, the industrialist asked Gaudi to design furniture for his father-in-law (appointed Marquis by King Alfonso XII for his support of the Spanish monarchy). The furniture was to be used in the chapel-mausoleum he was building next to his summer home on the Spanish north coast. (photos of furniture)
Another one of his early projects was the design of a textile cooperative for a hard-working, inventive man, Salvador Pages, who’d spent several years in the United States and believed in a democratic, equal partnership between workers and employers. This project appealed to Gaudi’s utopian vision and he thoroughly evaluated the needs for the housing and facilities.
The next year, 1879, just three years after losing his mother and brother, the architect lost two more family members- his aunt Ursula, with whom he and his brother had lived during the last year of their studies, and his sister, Rosa. Rosa left a three year-old daughter, also named Rosa. Gaudi and his father had to take charge of her as her father was completely irresponsible. (She was sent to a convent boarding school in Tarragona for care, and later moved back with Gaudi.)
The furniture Gaudi designed for the Marquis led to many other
commissions and also placed him in the most select circles with the best professionals of his generation. Around this time, he joined the Catalan Asso of Scientific Field Trips, a group of intellectuals devoted to Catalan history. He attended conferences, debates and cultural trips to Iconic landmarks of Barcelona. In addition to becoming responsible for the archeological heritage section, he joined the Catalan Excursionist Asso. and made various hiking trips, one to the Monastery of Poblet, the site of his boyhood dream of restoration with his two friends.
Gaudi’s first major work was the summer residence on the outskirts of Barcelona, for Manuel Vicens- Casa Vicens(1883-1888). Vicens was the owner of a brick and tile factory -exhibits the influence of Moorish architecture. House is constructed of stone, rough red bricks, and colored ceramic tiles in checkerboard and floral patterns. The yellow zinnia flowered tile was designed by Gaudi and manufactured by Vicens.
In the same year, 1883, he designed a home for Maximo de Quijano, a lawyer who’d made a fortune in Cuba and wanted to show off his success with a house bursting with color and completely unconventional- The Caprice.
Also in 1883, the architect accepted a commission to take over the building of a Barcelona church, the Basiica and Expiatory Church of the Holy Family, or Sagrada Familia. The original architect, Del Villar, had resigned over construction and budgetary restraints; another senior architect turned down the project; Gaudi recommended for his talent, his youth, and his enthusiasm. Gaudi was 31 and his fame was steadily growing.
In 1884, his friend, Guell, had inherited lands adjacent to farms and asked Gaudi to construct a protective wall around the complex. Finca Guell illustrates his affinity for Arab architecture, again the colorful ceramic work; and most striking, a wrought iron dragon on the carriage gate entrance. The dragon refers to Ladon, the serpent-like dragon that guarded the Garden of the Hesperides.
Thanks to these commissions, for the next few years, Gaudi would dress like a dandy- expensive suits, gloves, top-hat, frequenting the theater and operas. During this time, he was a regular customer at the Café Pelayo, where he engaged in lively debates about culture and politics. Although many of his projects would never materialize (eg a casino for the city of San Sebastian) he was always confident that success was only a matter of perseverance.
I wish I could tell you about Gaudi’s love life, but he apparently had none. The only woman he spent years courting by attending her family’s Sunday lunches, Pepeta Moreau, when he finally worked up the courage to ask her to marry, turned him down in favor of a local businessman. Gaudi was 36 and never again sought out a potential love relationship. He appeared deeply hurt and turned his attention to long talks with his friend, Eusebi Guell, conservative intellectuals, and prominent members of the Catholic Church.
Guell asked Gaudi to design a Palace next to his family home on the Ramblas, a mansion to demonstrate the economic and cultural strength of Catalonia. Gaudi put rich, decorative details created by some of the finest craftsmen off the time into the 3- story salon where there were events attended by members of the Spanish Royal Family.
Disappointments in two projects– a compound in Tangiers, (a Spanish colony- school, convent and hospital) for the Franciscan order; civil unrest cancelled that project; an Episcopal Palace in Astorga. He resigned after the Bishop, Grau died from a gangrenous leg wound. In bitterness, he burned the architectural plans, and then withdrew more and more into religious life – in 1894 during Lent began a strict fast- that became a hunger strike ( I think was a protest against the deep disappointment and loss) – also likely related to the downfall of long-admired priest and poet, Jacint Verdaguer,- scandal because of exorcist practices- expelled from the inner circle of the Marquis of Comillas. Neither Gaudi’s father or close associates could persuade him to rethink his decision to stop eating. (age 42)
The mediation of a priest, Josep Bages, finally convinced Gaudi to put an end to his strict fast. After he’d physically recuperated, he refocused on his work. And the work kept coming: Guell asked that he construct a winery and winecellers to supply wines to the boats of the Transatlantic Company. (1895-1901)-coastal town south of Barcelona.
His creativity was fast distancing him from his fellow architects.
In 1899, his friend and patron, Eusebi Guell began discussing a very ambitious project- a residential park that would combine the best of traditional rural life with modern city life. About 60 plots- common areas and paths; garden city estate. It appealed to Gaudi’s long-held ideas for a modern utopia. (He and Guell talked privately about combining the symbolism and values of Catholicism, allegory from the medieval past of Catalonia, and Greek culture, but this was not made public)- what resulted was gossip that the architect had taken to consuming hallucinogenic mushrooms. (Photos)
As Gaudi was beginning Park Guell, he was finishing Casa Calvet
a building that would house commercial activity on the ground floors and residences on the upper floors. Although this was one of his more conservative projects, it won the City Hall of Barcelona’s prize for Best Building of 1900. (Calvet owned a textile factory north of Barcelona)
The arrival of the 20th century brought Gaudi his most creative period. Nearing 50, he adopted a vegetarian diet (inspired by the German priest, Sebastian Kneipp); he had his own rigid system of values; he seemed impervious to outside influence- especially detractors, or those who criticized his extravagant taste; he attended intellectual gatherings at the Guell Palace; spent hours talking with one of his best friends, Dr. Pere Santalo- on walks and visits to Montserrat– a symbol of conservative Catalanism. (resistance to oppression)
His admiration for the medieval past of Catalonia led him to convince a flour trader, Jaume Figueres, to acquire the ruins of Bellesguard castle- built in 15th Cen. by Martin the Humane, the last King of Barcelona. (Gothic building took 9 yrs – fullfiled his wish to pay tribute to the Middle Ages.
1904- asked to restore the Cathedral of Palma de Mallorca- a Gothic masterpiece. The temple was built on the foundations of a mosque overlooking the Mediterranean Sea- Gaudi traveled there several times by steamboat and felt at ease in Mallorca- enjoyed the company of Bishop Campins- a younger, knowledgable man with whom Gaudi had long conversations about Catholic liturgy and the cathedrals’ renovation.
By 1904, the Nativity Façade of the Sagrada Familia was beginning to take shape. P.99 Gaudi was aware that the construction of the basilica would go on for decades. “There’s no need to lament that I won’t be able to finish the temple,” he said. “I will get old and others will have to take over.”
The next project, Casa Batllo, showed another departure from the Gothic genre to his own personal style. Josep Battlo was a tile magnate and his property was on an exclusive stretch of Passeig de Gracia. Three other major architects already had buildings on the block, and Batllo wanted his to compete favorably- and so did Gaudi. His creativity is evident in every corner of the house. He was greatly inspired as a young man by Jules Verne’s novel, 20,000 Leagues Under the Sea (1873). Some of the details in the rooms make you feel like you are in a submarine. (photos) On the façade, the railings look similar to skulls or masks- and combinations of ceramic and glass fragments were placed each one exactly where the architect indicated. The most striking feature is the roof- the undulating profile of a reptile- the dragon slayed by St George, the Patron Saint of Catalonia.(The tower, the saint’s sword)- Gaudi recognized by the city for his “unique genius.”
In October of 1906, Gaudi’s father died, just a few months after the two of them, along with Gaudi’s neice, Rosa, had moved into Park Guell. His father had been a constant presence in his life- taught him the love of craftsmanship, cared for Rosa, and gave him sound advice.
Gaudi plunged into depression following his death. His social life was greatly reduced (need to care for his niece- constant health problems) immersed himself in work.
Casa Batllo made a deep impression on Pere Mila, another wealthy business man, who’d acquired a plot on the corner of Passeig de Gracia and Carrer Provenca. He wanted a project similar to Batllo’s – apartments on the upstairs; the family to reside on the main floor.
Mila was not only a business man, he was also a politician, a member of parliament, and enjoyed being an influential member of the city. He wanted his house to be extraordinary and the center of attention.
Casa Mila, (1906-11) or La Pedrera (quarry in Catalan) became a revolutionary structure of pillars and steel beams that allowed the doing away with traditional load-bearing walls. The dynamic sculptural design is similar to a living organism- bears no comparison with any of his previous work or that of other architects. So radical, he had to fight with the city and with Mila over some of the plans- some he won, one like placing a sculpture of the Virgin Mary on top of Casa Mila, he lost.
During this time, Gaudi spent years experimenting with ideas for building a church topped with parabolic towers without resorting to external reinforcement elements. Using his spatial conceptions- he always preferred models and casts- only drawing plans when required by authorities. In a shed he and his team set up strings from the ceiling – on which he’d drawn the floor of the church with small bags of birdshot hanging from them; these weights produced a catenary curve. He would have learned about the catenary curve in his studies of engineering, math and physics. Up to that time the catenary curve was only used in the construction of suspension bridges. Gaudi the first to use this element in common architecture. (upside down force model)
*May 1908- two NY businessmen- skyscraper in NY.
July 1909 was called “Tragic Week” in Barcelona- reservists were called up to fight in Morocco (working class); anger, a strike, explosion of anti-clerical violence- dozens of churches, convents and religious schools burned. From his roof terrace he’d seen the smoke spiraling from the churches and schools. Psychologically exhausted– endless problems with Casa Mila- abandoned the work there; constant lack of funds for Sagrada Familia-
1910- about to turn 58. Refused to attend a major exhibition of his work in Paris. Began to suffer from bouts of high fever, loss of appetite and rheumatic pains. Irritable; only eating lettuce washed down with olive oil or milk; bread. Agreed to go to a small town near the French border Vic, for 3 weeks. Good friend Bishop Bages was there; attended mass every morning; walks with pharmacist friend – pontificated on everything, especially art- criticized Rembrandt, Van Dyck “room decorators”- even Michelangelo. Only classical Greece and Rome, due to influence of the Mediterranean, were acceptable.” ”
Health problems not alleviated by his 3 weeks away- spring of 1911 again high fevers; sudden changes in temperament, joint pain, rashes- Dx with Brucellosis- bacterial disease trans by animals.- thought to be from drinking spoiled milk (age 59)
His friend took him to the Pyrenees; sm. Village; Europa Hotel. 1st few weeks couldn’t move from the bed; refused medication, but somehow recovered strength. Fall of 1911 ret to Barcelona and completed the design of the Sagrada Familia’s Passion façade.
But now, in December,1911, two more losses: his good friend Maragall- respected writer; two weeks later his niece, Rosa, died. House in Park Guell- Was now quite empty.
From 1914 on, rejected all commissions and dedicated himself to the Sagrada F. Work considered out of touch with modern trends; circle of friends dwindling; his favorite collaborator of 20 yrs, architect Francsc Berengue, died suddenly of uremia at age 48. Gaudi would never find another professional as dedicated; “With the death of Berenguer I lost my right arm and even a part of the left”, he lamented. (age 62)
The work continued on his masterpiece, the Sagrada Familia
(photos)….. Sagrada Familia:
18 towers (more than any church in Christendom), symbolizing the 12 Apostles, the four Evangelists, Christ and the Virgin Mary.
Will be the world’s tallest church on completion- 560 ft
“…slanting, tree-trunk columns extend 200 ft to a series of towering vaults with psychedelic collages of geometric shapes like a crystalline canopy in the tree branches…And adorning the columns- turtles, frogs and lizards. Gaudi called this creation, a “columned forest,” and claimed it called forth the earliest spiritual seekers, for whom the forest served as ‘God’s cathedral.’”
1915- another close friend, Pere Campins- Bishop of Mallorca died.
1916- death of Josep Bages, the priest who’d talked him back to life during his period of self-starvation in his early 40’s.
1918- most painful- Eusebi Guell his dear friend, supporter and neighbor; died of a heart attack days after one of his children.
Ended the dream for Park Guell; inheritors no interest in financing it. Gaudi declared: “My closest friends are dead, I have no family, nor clients, nor fortune. So I give myself totally to the temple.” (age 64)
1924- tried to attend a Mass honoring the Barcelonans who’d stood up against the king in the War of Succession- 1714; a protest of the dictator, General Primo Rivera who the year before instigated a variety of measures against Catalan culture. He confronted the soldiers blocking the entrance and refused to speak Spanish- was arrested and jailed for a brief time.
1925 Matamala- another close friend, in charge of all the SF sculptors died of cancer; had stayed with him in Park Guell to keep him company- would wake him in AM; he’d wash and pray; attend Mass/communion; breakfast at a nearby dairy; go to the SF to supervise the work; mid-afternoon would walk to the Church of Sant Felip Neri in the old town, attend services; confession; tram to Park Guell– after Matamala’s death, moved to the studio at SF
June 1926- hit by a tram at 6 in the evening- thought to be a vagrant, a beggar and taken to the hospital for the poor
(Head shot)
The Sagrada Familia would be his living testament.
Gaudi considered God to be his only client.
“The master of the work, God, is in no hurry.” He said.
- 1999, the former Cardinal Archbishop of Barcelona announced the opening of the cause for Antoni Gaudí’s beatification. The Holy See approved the Archdiocese’s request in just two years. Such requests can sometimes take decades to receive Vatican approval.
The director of the Museum of the Barcelona Archdiocese wrote an article calling Gaudí “God’s architect,”
Clinical Considerations:
* As clinicians, what can we learn from Gaudi’s life? Did he suffer from major depression? Was he experiencing prolonged grief after the deaths of his brother, mother, aunt, sister, and a romantic rejection -all before age 40?
As to depression, of the 12 signs and symptoms in the DSM-5, Gaudi fails to meet 10 of them. As far as we know, he never expressed feelings of sadness, tearfulness, emptiness or hopelessness; nor feelings of worthlessness or guilt, self-blame; loss of interest in his normal activities; never expressed recurrent thoughts of death or suicide. That would have gone against his Catholic faith.
Clearly, there were times when he suffered depression, disappointment, and even despair. Each time, however, it was in the context of loss. It appears that after every loss and every illness he would re-commit to his work, to the church, his friends and collaborators, and to the Sagrada Familia.
In the context of grief, I’d like to cite George Bonanno’s work at Columbia University. He’s conducted more than two decades of scientific studies on grief- In his book, The Other Side of Sadness: What the New Science of Bereavement Tells Us About Life After a Loss, he describes the main component of grief and trauma reactions as – what would be your guess? “natural resilience.”
He found that the absence of grief or trauma symptoms is a healthy outcome; he found that grief responses take many forms, some counter-intuitive- like laughter, celebration or bawdiness. Coined the phrase, “coping ugly” to describe some of these. What he found is that resilience is natural to humans.
I also want to share a current phenomenon being studied world-wide, called “the U Curve.” First read about it in The Atlantic. “The Real Roots of Midlife Crisis,” J.Rauch, Dec. 2014
Here’s what the U Curve describes: In one’s forties, regardless of success, good relationships, financial security, a drop into disappointment occurs. Fears of failure; depression for no reason. The question arises, “Is this all?” Existential crisis. Then in 50’s, serious losses may occur, but 50’s now, all becomes well; and happiness increases into older age.
The answer to the question ten years later is, “Actually, this is pretty good. My life is okay.”
Interesting thing about this research is that it was begun by a labor economist at Dartmouth. He surveyed 80 countries and found that in all of them, life/work satisfaction bottomed-out in one’s 40’s, early 50’s then began to increase with greater happiness into old-age. (Economist at Princeton in a longitudinal
Study found the same results)- While this concept doesn’t apply to Gaudi- he kept suffering loss after loss, it does apply to many mid-life men in this country. (my son-in-law Charlie)
The last reference I’d like to make does apply to Gaudi and that is the developmental adult life cycles, described by Erik Erickson: Intimacy, Generativity, and integrity:
Foundation of course is the previous stage of Identity:
Gaudi moved into his adult life with a clearly integrated sense of self, a commitment to his values and his work.
Intimacy: (vs. Isolation) We could say, his withdrawal after the rejection by Pepeta, and his refusal to seek an intimate partner- was a failure in this area of development, but in Erlk and Joan Erikson’s later work- The Life Cycle Completed, they describe this energy sublimated:
“there may be, “instead, a total devotion to art, literature, scholarship to offset these losses. Some individuals are happily and completely devoted to their work, their calling and creativity.” Close friendships qualify as intimate relationships -characterized by closeness, honesty and love.” Gaudi maintained many close friendships throughout his life. Although he did have periods of loneliness.
Generativity: (vs. Stagnation) longest stage, 40-65. adults strive to create or nurture things that will outlast them; Contributing to society and doing things to benefit future generations; accomplishing things that make the world a better place. Gaudi devoted himself to the future
of the Sagrada Familia, the Church of the Poor.
Integrity: (vs. Despair) Age 65 on. Mainly about evaluating one’s life as having been meaningful; in spite of failures, having trust in the future. Gaudi’s faith never seemed to falter. His faith in himself, his work on The Temple, his faith in Catalonia and its people, and his faith in God.
“There is no reason to regret that I cannot finish the church. I will grow old but others will come after me. What must always be conserved is the spirit of the work, but its life has to depend on the generations it is handed down to and with whom it lives and is incarnated.”
He created over 90 projects; Seven of his buildings in Barcelona are listed by UNESCO as World Heritage Sites.
“The straight line belongs to Man. The curved line belongs to God
Nothing is art if it does not come from nature.”