The First Cold

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The first notable work is a cold monochrome sculpture by Miquel Blay, featuring several versions, including one carved from white marble and another in bronze, which debuted at the National Exhibition of Madrid in 1892. With this piece, Blay broke free from traditional realist sculpting that dominated the 19th century. The marble version resides at the MNAC in Barcelona, while the bronze sculpture is housed at the Regional Museum of Garrotxa in Olot. This work marks the early stages of Catalan modernism, which officially began between the Universal Exposition in Barcelona in 1888 and the loss of Spain's last colonies in 1898. Although it remains a realistic sculpture, it aspires to be modernist, incorporating innovative elements that set it apart from traditional realism. Modernism had not yet been fully defined, but there was already a desire to continue the Catalan Renaissance style while embracing European avant-garde movements like romanticism and symbolism. The sculpture showcases two individuals, a man and a girl, likely a grandfather and granddaughter sitting on a stone bench. The girl appears to be under the protection of the man. Both characters are naked, which heightens the drama of the scene, creating a striking contrast between the man's robust physique and the softer lines of the girl. The man bears a beard and a look of resignation, with his curved back, knees together, and hands clasped between them conveying the chill of the cold weather. In contrast, the girl's gesture is tender and full of love as she gazes at the man. He, however, looks directly at the viewer. A notable detail that underscores the child's vulnerability and conveys tenderness is her closeness to the ground. Her legs are drawn together in a way that suggests she is trying to protect herself from the cold, but they also lean towards the man, who serves as a source of warmth. The sculpture's structure is formed by a horizontal rectangle representing the stone bench on which the figures rest. The base of the triangle marks the diagonal line created by the girl's body and the two heads. The girl's legs form another diagonal, extending to meet the tip of the triangle. The man's arm and leg lie beside the girl, forming the vertical side of the triangle. In general, the vertical lines correspond to the man, while the diagonal part of the sculpture represents the defenseless girl. The marble version embodies idealism, a trend championed by Jose Limon and the Arts Center of St. Luke. Idealism begins to emerge as a key principle defining modernism, including symbolism (blurring bodies and marking the mood of the characters). Some details that nod to realism include the prominent ribs and hips of the child. Idealism is exemplified in the smooth curves of the girl and the tender scene created by the cold weather. This work juxtaposes the realism of the man with the idealism of the child, highlighting the refined technique and expressiveness of the characters. It is an early Symbolist sculpture in Spain, marking a significant departure from traditional realist sculpting.