From 10 am to 6 pm, from Tuesday to Saturday.
Until 8 pm, from May to September.
From 10 am to 3 pm, Sunday and public holidays.
Closed: Mon (except public holidays), Jan 1st, May 1st, Dec 25th
Parc de Montjuïc, 08038 Barcelona
T 936 220 376Buy my pass
The National Art Museum of Catalonia houses the most important collection of Romanesque mural paintings in the world and a collection of modern art that has recently been reinstalled. In the new display rooms you will find furniture and decorative art by Gaudí and Jujol that will take you back to the Modernista Barcelona of the nineteenth and twentieth centuries. The Roof-Viewpoint offers unique vistas over the city and is an ideal place for enjoying the spectacle of the Magic Fountain.
The Renaissance and Baroque collection rooms at the Museu Nacional d’Art de Catalunya will be closed to the public from 30 May until the end of 2017, as a new presentation for the collection is being prepared.
The Museu Nacional d’Art de Catalunya (National Art Museum of Catalonia) offers a singular display of Catalan art of all periods. Recent temporary exhibitions have reclaimed and brought to the fore the role played by Catalan artists in relation to the international art context. The museum is now also looking at contemporary creation with the aim of presenting new proposals and provoking a dialogue and critical revisions of the collection.
More than 1,300 pieces, some that have never been seen before, among which it is worth highlighting the furniture of la Pedrera and of the Casa Batlló, examples of the trencadís (the special mosaics of broken ceramics) of the Park Güell and other objects by Antoni Gaudí from the Sagrada Família. Works by Fortuny, Ramon Casas, Toulouse-Lautrec and Antoni Tàpies are also exhibited in a presentation which takes us up to the second half of the twentieth century, to the 1950s, and which includes art produced during the Civil War.
Reviewing the career of Ismael Smith Marí (Barcelona, 1886 –New York, 1972) in depth was a long overdue task in the history of Catalan art. Smith was famous during the early years of his career, but in 1919 he left for the United States, at which point the process of oblivion began for him. He never managed to integrate there as he had hoped and he gradually gave up art. In Catalonia he wasn’t entirely forgotten as an artist but he was restricted to the field of satirical illustration and bibelots. This was because of his transgressive production, always pushed to the limit, in the orderly world of Noucentisme he belonged to. His grotesque or expressionistic deformations, the sexual ambiguity of his male or female figures and the horrific scenes in his engravings had no place in the placid Mediterraneanism that prevailed as the only possible way out for Modernisme. It was disturbing and varied work that gradually dropped out of the official discourse of Catalan art and was eventually rejected and scorned. The exhibition is arranged in five rooms: the person, the illustrator, the sculptor, the engraver and the artist’s tragic end.
Untill September 17