Gaud’:
The True Hero-Artist
Must
a hero be a savior, a prophet, a forceful being? In some regards, yes. I
believe a heroÕs most important task is to better the world, make a difference
in society, and leave behind a lasting impression. Heroes save us, not only
physically, but also emotionally and spiritually. A hero stands as an icon, a
message, something bigger than his or herself. So, can an artist be a hero as
well? According to Marion Deckert, ÒThe artist is viewed as a person who has an
alternate route to the truth,Ó [1]
which is certainly noble. The quest for truth and meaning are universal goals,
and heroes represent the unearthing of at least a small fraction of this truth.
Additionally, the artist is often responsible for the Òexploration of what has
not been,Ó [2] and it is
his or her goal to relay this discovery back to the rest of the world.
Therefore, this hero-artist serves as the vital link between society and the
truth. Antoni Gaud’ is this hero.
Gaud’
can be considered heroic because of the prominent mark he made on the world through
his innovative architecture. His architecture will forever remain renowned and
unique, serving as a physical and spiritual link between the natural and human
world. He stood out from his contemporaries, doing things in a new and shocking
way. Gaud’ threw off all
convention, trying
to
remain true to nature rather than conforming to the classical, rigid definition
of architecture. He ÒdidnÕt believe in straight linesÓ because they were not
found Òin nature and thus were not divine creations.Ó [3]
Gaud’Õs goal, his heroic quest, was to remind us of the beauty of our
surroundings, to continue to appreciate and savor our natural world rather than
separate ourselves from it.
Emerging in
Gaud’Õs lifetime and continuing into contemporary society, we face a growth in
modernization with the fissures between the man-made and the natural
progressively increasing. During Gaud’Õs lifetime, near the turn of the eighteenth
century, the industrial revolution changed culture and everyday life around the
world and placed greater importance on technology. As man was becoming his own
god, Gaud’ seemed to oppose this movement by looking to nature—
GodÕs
creation—for answers, rather than to technology. Gaud’ placed an emphasis
on the natural world because Òwe find all men of true feeling delighting to
escape out of modern cities into natural scenery.Ó [4]
Gaud’ helped man return to this natural state by forcing a coexistence between
the natural and the manmade. This juxtaposition asked man to question which was
the better environment. Gaud’ reminded society
to rejoice in the beauty of the natural world through his art—his
buildings.
Gaud’
was awed by nature throughout his entire life. As a child, he developed
arthritis and had to miss school; Òinstead, he spent much of his time walking
and observing animals, plants, and forms in nature.Ó [5]
In addition to nature, one of Gaud’Õs known influences was the British art
critic John Ruskin. Ruskin spoke of the importance of the natural world, praising
the ÒDecorated GothicÓ style, in books such as The Stones of Venice. [6]
Particularly important to Gaud’ was
RuskinÕs Òbelief that Ôornament [is] the origin of architecture,ÕÓ [7]
as exemplified in Gaud’Õs extreme attention to detail in all of his projects.
Colors, shapes, textures, and icons, were immensely important attributes; they
served as an additional reminder of the complexities of all that is natural. Even
the internal structure of his buildings can be referenced to the natural world.
Gaud’ was a pioneer in creating equilibrated structures which are able to stand
on their own without internal or external support, Òas Gaud’ observed, as a
tree stands.Ó[8] Gaud’ was
also influenced by Òa book on medieval French architecture by Viollet-le-Duc.Ó [9]
However, GaudiÕs work was not strictly medieval, as admired by Viollet-le-Duc,
nor purely Gothic, as favored by Ruskin. His creations were something all their
own, drawing from past architectural styles, twisting and morphing into
something wholly original and inspiring.
Through his
buildings, Gaud’ gave an extremely important gift to Barcelona, to his country,
and to the world. Campbell says, ÒWherever a hero has been born, has wrought,
or has passed back into the void, the place is marked and sanctified. A temple
is erected there to signify and inspire the miracle of perfect centeredness;
for this is the place of the breakthrough into abundance. Someone at this point
discovered eternity.Ó [10]
Every building or project Gaud’ created is thus a sanctuary of sorts—each
is a birth of inspiring ideas which serve as a reminder of his genius. Though
these buildings may not stand for eternity, his memory will not soon be
forgotten.
While created for
beautyÕs sake, Gaudi also utilized his buildings as political and cultural statements.
Gaudi Òwas an important participant in
the Catalan RenaixensaÓ [11]
which sought to differentiate the culture of Catalonia, a historical region in
Northern Spain, from the ÒCastilian-dominated
and Madrid-centred government in Spain.Ó[12]
The movement was an assertion of independence and a reclaiming of identity and
patriotism, through both language and the arts. It sought to reclaim the 
romantic past associated with Catalan culture,
namely through the use of the Catalan language, a dialect of Spanish. This was
especially important in Barcelona, the capital of Catalonia where seventy-five
percent of the population speaks Catalan. So as GaudiÕs home city was
undergoing a cultural change, Gaudi sought to physically impact its appearance.
GaudiÕs creations for Barcelona serve not only to enhance their surroundings;
they are also a part of the Catalan Renaixensa, and therefore a statement about
patriotism and mankind.
An example of GaudiÕs statement about the
natural world is his Parc GŸell. The park was and is today a place for
all kinds of people to convene and enjoy nature, to become part of the natural
world and surround themselves with the beauty of Gaud’Õs vision. It 
was
a utopia of sorts, eliminating class distinctions, backgrounds, allowing all
types of people to come together in a beautiful and stimulating atmosphere. The
park itself is full of natural forms and structures. The benches at Parc GŸell
are often compared to the back of a snake, slithering around an enclosure.
Underneath the bench is a walkway filled with mosaic tiles. Some of the
patterns on the ceiling look like sea creatures—starfish and octopi.
There is another walkway in the park that looks like a natural cavern, made of
earthy rocks and stones. However, details such as female forms that support the
columns remind the viewer that this area is man-made. To many, this place is
perfection. One can hear Gaud’Õs voice and clearly see his vision.
Gaud’Õs most
impressive work is the Sagrada Familia—a project over one hundred and
twenty years old; Òthis temple earned Gaud’ the title of ÔGodÕs ArchitectÕ.Ó[13]
The project was an additional piece of GaudiÕs involvement with the Catalan
Renaixensa. The religious symbol of the movement was the holy family, so
GaudiÕs Sagrada Familia served as its physical representation. The project was
such a huge undertaking that Gaud’ knew the building would never be finished in
his lifetime, yet he meticulously designed the cathedral, leaving intricate
sketches and models behind. He had faith that one day his temple would be
complete. Gaud’ hoped his project would become the Òlast great sanctuary of Christendom," [14]
hoping to spiritually link man to the heavens with this perfected place of
worship. He worked on the building for over forty years, devoting all of his
time exclusively towards the project for the last fifteen years of his life; Gaudi
eventually even came to live in his workshop on site. Designing this massive
cathedral, which, Òwhen finished, will seat 13,000 people,Ó [15]
he hoped to give back to his religion by inspiring others with his faith and
depicting hundreds of biblical scenes throughout the building. Covering every
surface is something to discover. It is true that Òinside and out, Gaud’
unleashed considerable vision.Ó [16]
This vision melds together the natural world with the architectural world by
physically relating the inside of the Cathedral to the outside world. The
immense, vaulted ceiling in the nave is supported by columns meant to resemble
tree trunks; when inside, one feels tiny 
compared
to the beautiful white forest Gaud’ has created. Though seamless, these columns
are quite complex; Gaudi took into account tedious mathematical formulas in
order to create a near-perfect symmetry. With all its complexity and beauty,
the Sagrada Familia is GaudiÕs masterpiece—once the building is completed,
we will be reminded of his presence, his message, and his gift to mankind.
Campbell says a hero Òcomes backÉwith the power to bestow boons on his fellow
man;Ó [17]
and the Sagrada Familia is an offering to Gaud’Õs fellow man. He devoted his
entire being towards the completion of his message, his masterpiece. The very
fact that Gaud’
knew, that his workers knew, they
would never be alive to see the finished piece, is awe-inspiring. Though the
building is continually nearing completion, it is impossible to tell if it will
be finished in our lifetimes.
Gaud’ is my role
model because of his ability to utilize his passion while
at the same time, spread a deeper message
through his creations. Gaud’Õs art—his
buildings—are an experience in themselves. They hold truths, they ask
questions, they communicate with the world. Experiencing Gaud’ Ôs work
firsthand was astonishing; it was like standing inside the mind of an artist,
with the real, the surreal, the natural, and the unnatural all fused together
harmoniously. Gaud’Õs ability, not only to create as an artist, but also to
make something important, something immortal, is an inspiration to me.
Gaud’Õs work
serves as a spiritual connection to the natural world and reminds us to think
beyond our self-imposed boxes and prisons—to rejoice in that which has
been given to us, that which we often fail to recognize. Gaud’ is a perfect
example of the artist-hero. Campbell says Òit is not society that is to guide
and save the creative hero, but precisely the reverse.Ó [18]
Because Gaud’ Ôs works broke away from tradition, they made a visionary
statement. Gaud’Õs life, but more importantly his works—his Utopian
gardens, spiritual retreats, and ability to communicate the importance of the
natural world—are truly gifts. These places are guides to remind us of
his message.
Total Word Count: 1716
Quotes: 210
Minus Quotes: 1506
New Words: 361