新西兰作业代写:艺术自由盛行

This sense of artistic freedom prevalent in Barcelona (which was, as Carr suggests, brought about entirely by the success of the commerce of the region’s middle classes) was, it should be noted, offset by a deep-seated conservatism fuelled by religious fervour which afflicted the vast majority of Spain during the late nineteenth century and early twentieth century. This sense of conservatism and deep-seated religious fervour would be recreated by Gaudi in much of his later work when religious conviction became the determining ideological feature in his life, providing the impetus for the contrary nature of his art which we alluded to in the introduction. However, while religion became the central feature of his later work, during the early part of his career, Gaudi was very much a product of the free expressionism which characterised modernism and the art nouveau style that had swept across Europe at the time whereupon he designed buildings in the Catalan capital of Barcelona which combined “entirely free, asymmetrical, jagged planes with fiercely extravagant and arbitrary forms so that there are no straight walls, no right angles and everything undulates in an unprecedentedly organic interplay of exterior and interior.” (Honour and Fleming, 2005:725)

If, for instance, we pause to examine the undulating form of the exterior of Gaudi’s Casa Mila (1905-1910) in Barcelona (figure 1) we can see the extent to which the old conventions pertaining to architectural structure and design had been cast aside by an artist fuelled by a desire to perpetually stretch the boundaries of the new.

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