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Galeries Dalmau was an art gallery in Barcelona, Spain, from 1906 to 1930 (also known as Sala Dalmau, Les Galeries Dalmau, Galería Dalmau, and Galeries J. Dalmau). The gallery was founded and managed by the Symbolist painter and restorer . The aim was to promote, import and export avant-garde artistic talent. Dalmau is credited for having launched avant-garde art in Spain.Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906–1914, University of Chicago Press, 2008, pp. 293–295 Carol A. Hess, Manuel de Falla and Modernism in Spain, 1898–1936, University of Chicago Press, 2001, p. 76,
In 1912, Galeries Dalmau presented the first declared group exhibition of Cubism worldwide, Commemoració del centenari del cubisme a Barcelona. 1912–2012, Associació Catalana de Crítics d'Art – ACCA with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp. The gallery featured pioneering exhibitions which included Fauvism, Orphism, De Stijl, and abstract art with Henri Matisse, Francis Picabia, and Pablo Picasso, in both collective and solo exhibitions. Dalmau published the review 391 created by Picabia, Francis Picabia, 391, several issues available online and gave support to Troços by . Troços, digitalization available in the ARCA Portal (archive of antique Catalan magazines) Archive of Troços magazineJosep Maria Junoy, Arte & Artistas (Primera serie), Barcelona, Llibreria de L'Avenç, 1912
Dalmau was the first gallery in Spain to exhibit works by Juan Gris, the first to host solo exhibitions of works by Albert Gleizes, Francis Picabia, Joan Miró, Salvador Dalí and Angel Planells. It was also the first gallery to exhibit Vibrationism. M. Lluïsa Faxedas Brujats, "Barradas' Vibrationism and its Catalan Context", RIHA Journal 0135, 15 July 2016
The gallery presented native pre-avant-garde artists, tendencies and manifestations new to the Catalan art scene, while also exporting Catalan art abroad, through exhibition-exchange projects, such as promoting the first exhibition by Joan Miró in Paris (1921). Aware of the difficulty and marginality of the innovative art sectors, their cultural diffusion, and promotion criterion beyond any stylistic formula, Dalmau made these experiences the center of the gallery's programming. Dalmau is credited for having introduced avant-garde art to the Iberian Peninsula. Due to Dalmau's activities and exhibitions at the gallery, Barcelona became an important international center for innovative and experimental ideas and methods. Sebastià Gasch, El arte de vanguardia en Barcelona (Avant-Garde Art in Barcelona), Destino. Año 1962, No. 1287-1290 (Abril), p. 48
At the age of thirty, he emigrated to Paris where he lived for six years, and studied painting conservation in Bruges and Gant, Belgium.
In 1906, after having finished his studies in restoration, Dalmau returned to Barcelona. He worked as a technical restorer for Museu de Barcelona. In 1914 he restored the complex work of Marià Fortuny, The Battle of Tetuan, 1862–1864. The Battle of Tetuan by Marià Fortuny, Museu Nacional d'Art de Catalunya, Wikimedia Commons In 1915 he restored the altarpieces for the Board of Museums, known as Junta de Museus de Catalunya. Bru i Turull, Ricard, El comerç d'art japonès a Barcelona, 2009–2010, Universitat de Barcelona
Dalmau opened an antiques gallery in 1906, Carrer del Pi, 10, becoming his first showroom, lasting from 1906 to 1911. The establishment basically dealt with antique objects, and later extended with a section of modern art. The first documented exhibition of modern art was in 1908, with the exhibition by Josep Mompou i Dencausse and some Japanese prints.El Poble Català, Barcelona, núm. 694, gener 1908, p. 2 The following year Dalmau hosted a joint exhibition of Joan Colom i Agustí, and Isidre Nonell. Dalmau is largely credited for having introduced avant-garde art to Barcelona, and more generally, to Spain. His exhibitions, while promoting international artists, connected Catalan artists with the world of art outside of Spain. Fèlix Fanés, Salvador Dalí: The Construction of the Image, 1925–1930, Yale University Press, 2007,
The new establishment located in the Gothic Quarter at Carrer de Portaferrissa, 18, was baptized with the name "Galeries Dalmau" with the goal of combining exhibitions of old masters, modern art, and new art. Dalmau was poised to import foreign avant-garde art into the city of Barcelona, widening the city's cultural horizons.
The exhibition space of the gallery was located in the inner courtyard of a house, with a glass ceiling, typical of photography studio or industrial warehouse. It had a threaded mechanism that regulated the light coming in through the skylight. The space was divided by wooden partitions that did not reach the ceiling, and divided into two or three interconnected spaces, and one office. Access to the gallery passed through a long corridor adorned with anonymous unrestored old master landscapes and still lifes.
For the coming years, this became the platform featuring pioneering exhibitions of Fauvism, Orphism, De Stijl, and abstract art with Francis Picabia, Kees van Dongen, Joaquín Torres-García, Henri Matisse, Juliette Roche, Georges Braque, André Derain, Auguste Herbin, Fernand Léger, André Lhote, Gino Severini, Louis Valtat, Félix Vallotton, Hans Arp, María Blanchard and others in both collective and solo exhibitions.
Art historian Fèlix Fanés writes of the gallery:
To overcome the difficulties of the home market, Dalmau introduced contemporary Catalan art to foreign markets. This strategy, together with the arrival of numerous avant-garde artists in Barcelona during the First World War, served to consolidate the modern image of the Galeries Dalmau. The dealer paved the way for many young people in the tough world of advanced art, having a decisive influence, for example, on the early career of Joan Miró.
In Paris, the Cubist works at the 1911 Salon d'Automne resulted in a public scandal that brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants. Cubist paintings had already been exhibited at the 1910 Salon d'Automne (by Jean Metzinger, Robert Delaunay, Henri Le Fauconnier and Fernand Léger), but not under a group banner or name.Daniel Robbins, Jean Metzinger: At the Center of Cubism, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 9–23 The term "Cubisme" was enunciated for the first time for the occasion of the first exhibition to include Cubism outside France: at the Brussels Indépendants, June 1911. Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund And now, the second exhibition beyond the French border was about to take place; the first devoted entirely to Cubism. Josep Bracons Clapés, Les grans exposicions d'art del segle XX, Barcelona Metròpolis Mediterrània, Ajuntament de Barcelona
This was the backdrop upon which the Barcelona exhibition of Cubist art was set. Josep Dalmau had travelled to Paris to see the 1911 Salon d'Automne. Mercè Vidal, L'Exposició d'Art Cubista de les Galeries Dalmau 1912, Edicions Universitat Barcelona, 1996, He also visited a Cubist exhibition at Galerie d'Art Ancien et d'Art Contemporain (20 November – 16 December 1911), 3 rue Tronchet, where he met several Cubists, including Metzinger. The Dalmau exhibition comprised 83 works by 26 artists, including the Salon Cubists of Salle 41. David Cottington, Cubism in the Shadow of War: The Avant-garde and Politics in Paris 1905–1914, Yale University Press, 1998, He later attended the Indépendants 1912 Salon des Indépendants (March–May).
Mercè Vidal, author of L'Exposició d'Art Cubista de les Galeries Dalmau 1912 writes that Dalmau's initiative was not at random, nor the result of chance. 'The presentation of the Cubists in Barcelona came preceded by the interest of the Catalan artists and critics for that movement, from the moment they had first heard news.'
The opening of the Exposició d'Art Cubista at Les Galeries Dalmau began at 6pm on 20 April 1912. Entrance was strictly by personal invitation. Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition, which was fully translated and reproduced in the newspaper La Veu de Catalunya. Joaquim Folch i Torres, Els Cubistes a cân Dalmau, Pàgina artística de La Veu de Catalunya (Barcelona) 18 April 1912, Any 22, núm. 4637–4652 (16–30 abr. 1912) Joaquim Folch y Torres, "El cubisme", Pàgina Artística de La Veu, La Veu de Catalunya , 25 April 1912 (includes numerous articles on the artists and exhibition) Previously, Jacques Nayral (pseudonym for Jacques Huot), joined forces with Alexandre Mercereau, Gleizes, Metzinger, and Le Fauconnier in planning to publish a review dedicated to the plastic arts. John Golding, Cubism, A History and an Analysis 1907–1914: The plans for this publication were discussed in Paris–Journal, 17–30 October 1911 As editor-in-chief of publications, he went on to launch as series under the umbrella name Tous les arts, which published the first two seminal books on Cubism: Du "Cubisme" (1912) by Metzinger and Gleizes, and Les Peintres Cubistes, Méditations Esthétiques (1913) by Guillaume Apollinaire. In his Dalmau catalogue Preface, Nayral writes:
the artist must no longer cling to servile imitations, that artistic joy is not produced by the observance of an exact reproduction of appearance, but that it is born of the interaction of our sensibility and our intelligence, that the deeper the artist leads us into the unknown, the more talent he has. A multiple enigma, which does not reveal itself in its integrity and in a single stroke, but gradually and step by step—just as we read a book page by page.
Nayral then cites Metzinger's 1910 concept that their attempt is to realize a "total image" (depicting the subject from a multitude of viewpoints to represent the subject in a greater context),Jean Metzinger, Note sur la peinture, Pan (Paris), October–November 1910 giving "a plastic consciousness to our instinct", and leading to a more profound truth—a "truth that only the intelligence grasps."
It is lyrical poetry... that one would have to express those profound feelings. No, not even that: in exchange for a supreme and marvelous selfish joy, it would be better not to try to analyze that divine sensation of mystery, that communion with the great unknown, which the contemplation of pure beauty elicits in the depths of our souls.
Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe.
Cubists artists consisted of Jean Metzinger, Albert Gleizes, Marcel Duchamp, Juan Gris, Marie Laurencin, August Agero, with works by Henri Le Fauconnier and Fernand Léger listed in the supplement of the catalogue.
Jean Metzinger was considered the most representative of the Cubists. He exhibited a Study for "Le Goûter" (1911), Jean Metzinger, Etude pour "le gouter" (1911), Agence Photographique de la Réunion des musées nationaux which was printed on an advertising poster for the Cubist show at Dalmau, and two paintings, Nature morte (Compotier et cruche décorée de cerfs) (1910–11) and Deux Nus (1910–11). Albert Gleizes exhibited Paysage (Landscape, Les Maisons) (1910–11), Le Chemin, Paysage à Meudon, Paysage avec personnage (1911), Study for the portrait of Jacques Nayral, a drawing entitled El año, and three more untitled works. Marcel Duchamp showed La sonate (Sonata) (1911) and Nude Descending a Staircase, No. 2 (1912) was exhibited for the first time. Juan Gris was represented by Nu, four untitled oils, and five drawings. Marie Laurencin showed two watercolors, two oils, two drawings and six etchings. August Agero, presented a Statue of man, Statue of woman, Bust of man, Jeune fille à la rose, a series of dishes, including one titled Adam and Eva (copper plate) and five drawings. Le Fauconnier exhibited Portrait d'un Poète and two landscapes of Brittany. Fernand Léger had three drawings in the show.
While press coverage was extensive, it was not always positive. Articles were published in the newspapers Esquella de La Torratxa Cubist caricature, Esquella de La Torratxa, Núm 1740 (3 maig 1912) and El Noticiero Universal Juan de Dos, Los pintores cubistas en Barcelona, Crónica de Arte, El Noticiero Universal, 25 April 1912 attacking the Cubists with a series of caricatures laced with text, showing people shaped like cones standing in front of the works. Another depicted Adam and Eve in crude cubic form (Agero presented a sculpture of the subject). Others still interpreted the paintings as cubic scribbles, or an artist at his easel with a cube-like animal head; all with derogatory captions. Others mocked the works, referring to them as "hieroglyphs". Among artists reactions were mixed, sparking a debate among Noucentists. Eugenio d'Ors saw Duchamps Nude Descending a Staircase as a "sad case, a case of unconsciousness and disorientation".Xenius, Poch a poch, poch a poch. Glosari. La Veu de Catalunya Edició Vespre, Barcelona, 27 April 1912 In another article he referred to Duchamps Nude as "monstrous", because the artist renounced form and a sensual appearance of reality, contradicting the efforts of other Cubists. Eugenio d'Ors (Xenius), El cas DU CHAMP, Glosari, La Veu de Catalunya (Barcelona) 29 April 1912 (edició vespre), 2009 The following year Nude Descending a Staircase, No. 2 was exhibited at the Armory Show where it became the subject of endless scandal. Armory show entry form for Marcel Duchamp's painting Nude descending a staircase, not after 1913. Walt Kuhn, Kuhn family papers, and Armory Show records, Archives of American Art, Smithsonian Institution.Calvin Tomkins, Duchamp: A Biography, Henry Holt and Company, 1996, Inc.
Art historian Jaime Brihuega writes of the Dalmau Cubist show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion.Jaime Brihuega, Las Vanguardias Artísticas en España 1909–1936, Madrid. Istmo.1981 D. José Luis Antequera Lucas, Tradición y vanguardia en la pintura española de paisaje entre 1915 y1926 a través de la obra "El año artístico" del crítico de arte José Francés , Universidad de Murcia. Facultad de Letras. Departamento de Historia del Arte. Murcia, 2013 (PDF) Cubism subsequently became one of the most influential art movements of the 20th century; Christopher Green, MoMA collection, Cubism, Introduction, from Grove Art Online, Oxford University Press, 2009 Cubism: The Leonard A. Lauder Collection, The Metropolitan Museum of Art, New York, 2014 impacting developments in Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco. Christopher Green, 2009, Cubism, Meanings and interpretations, MoMA, Grove Art Online, Oxford University Press, 2009 while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Christina Lodder, 2009, Constructivism, Formation, 1914–21, MoMA, Grove Art Online, Oxford University Press, 2009
Selected works exhibited or reproduced in the press
In Vell i Nou 15 December 1915 it was written that the artist "has managed to interpret with a sweet smile the hell of vice and the perversity of life in the underworld of Paris", and La Veu de Catalunya 11 December recalled of his work "the especially preeminent place that it occupies among the most advanced pictorial schools". The exhibition was well received by L'Esquella de la Torratxa, 14 January 1916, and the magazine Themis, by Vilanova i la Geltrú, 5 January, in which J.F. Ràfols wrote a detailed account of van Dongen work, although not without some reticence, as he described a "believer exceeded by the artificiality of the type of woman, make-up and frivolous, portrayed by the artist. In Vell i Nou, Romà Jori wrote: "from the union between symbolist poets and impressionist painters this painting is born, which has Van Dongen as one of its most solid representatives". Francesc Fontbona, Kees van Dongen, Kees Van Dongen i Barcelona
Spain remained neutral during World War I, between July 1914 and November 1918. Despite domestic economic difficulties, many artists chose to reside in Spain (and Barcelona in particular). List of works exhibited by Gleizes, Dossier de premsa de la presentació del fons de les Galeries Dalmau, Biblioteca de Rafael i María Teresa Santos Torroella
Gleizes' solo exhibition at Dalmau took place 29 November – 12 December 1916, Albert Gleizes, 29 November – 12 December 1916, Galeries Dalmau (invitation) generating considerable press coverage, for example in Vell i Nou, Albert Gleizes, Vell i Nou. Any 2, núm. 38 (1 des. 1916) p. 301 and by Feliu Elias, who under another pseudonym, Apa, drew a caricature of Gleizes, in La Publicidad. Barcelona, Joan Sacs (Feliu Elias), Exposicion Gleizes, La Publicidad, Thursday 30 November 1916. Front page
Art historian Daniel Robbins writes of the Barcelona works of Gleizes:
His work was always directly engaged with environment, especially an unfamiliar one. Thus, his 1916 voyage to Spain resulted in a number of obviously Spanish paintings, ( Spanish Dancer) hot and exuberant (as well as in a lost Sailboat painting, more consonant with the general course of his development in synthetic abstraction) and few of his paintings are as sensual and immediate as those of Bermuda in which a Cezannesque concern for light-modified forms and his consistent diagonal brushwork overcome any conceptual efforts.
This spirit does come to us without enthusiasm, and this is another characteristic. We are engulfed in flame, we vibrate; our spirit is vibratory, agile; it covers immense spaces in seconds; we feel in ourselves the conviction that we can achieve extraordinary things. Good things fall to us; we become altruistic, sincere, indulgent, cordial. The world is beautiful, exuberant with life, with heat, with light. Serenity, like a sovereign, reigns over everything. The world enjoys perpetual peace.
The Galeries Dalmau exhibition of Joan Miró was accompanied by a catalogue with a calligram poem by Josep Maria Junoy. Listed are a total of 64 works: 2 dated 1914; 7 dated 1915; 25 from 1916; and 30 works from 1917. Joan Miró exhibition catalogue, 16 February – 3 March 1918, Galeries Dalmau Reports are that the show was not a success, Miguel Cabañas Bravo, El arte español del siglo XX: su perspectiva al final del milenio, Editorial CSIC, 2001, p. 91, his work was ridiculed and defaced.
Miró's submissions reflected the influence of French movements, Impressionism, Fauvism, and Cubism, with colors akin to van Gogh and Cézanne (such as Portrait of Vincent Nubiola),Georges Raillard, Miró, Debate, Madrid, 1992, pp. 48–54, as well as the influence of van Dongen and Gleizes.Rosa Maria Malet, Joan Miró, Edicions 62, Barcelona, 1992, p. 20, The reaction among critics was mixed, and Miró only managed to sell one work, a still life of a coffee grinder, which was purchased by Catalan artist Josep Mompou (who exhibited at Galeries Dalmau in 1908) for 250 pesetas.Lluís Permanyer, Miró, la vida d'una passió, Edicions de 1984, Barcelona, 2003, p. 34, .
Miró subsequently was drawn towards the arts community gathering momentum in Montparnasse and in 1920 moved to Paris, but continued to spend his summers in Catalonia.Victoria Combalia, "Miró's Strategies: Rebellious in Barcelona, Reticent in Paris", from Joan Miró: Snail Woman Flower Star, Prestel 2008
It was at this exhibition, in all probability, that dealer Léonce Rosenberg and Miró met for the first time. Dalmau had organized the show with the help of Rosenberg and of Georges Bernheim, the gallery owner and international art expert during the Parisian interwar period. He had exhibited works by Francis Picabia, Raoul Dufy, and many others at the Galerie Georges Bernheim. Joan Miró, José F. Ráfols, Francesc Fontbona, Cartes a J.F. Ràfols, 1917/1958, Volume 3 of Secció d'Estampes, Mapes i Gravats, Amadeu-J. Soberanas, Francesc Fontbona, Biblioteca de Catalunya, 1993, Virtually all of the Cubists in the show had already exhibited at Rosenberg's Galerie de L'Effort Moderne, or would shortly. In 1930 and 1932, Rosenberg presented two large exhibitions of works by Picabia. Effort Moderne, Galerie L, Paris, Index of Historic Collectors and Dealers of Cubism, 1918–1941, Leonard A. Lauder Research Center for Modern Art, Metropolitan Museum of Art
Artists included María Blanchard, Georges Braque, Henri-Edmond Cross, Jean Dufy, Raoul Dufy, André Derain, André Dunoyer de Segonzac, Othon Friesz, Albert Gleizes, Juan Gris, Henri Hayden, Auguste Herbin, Marie Laurencin, Fernand Léger, André Lhote, Jacques Lipchitz, Henri Manguin, Jean Marchand, Albert Marquet, Henri Matisse, Jean Metzinger, Joan Miró, Pablo Picasso, Diego Rivera, Gino Severini, Paul Signac, Joaquim Sunyer, Léopold Survage, Louis Valtat, Félix Vallotton, Kees van Dongen, Maurice de Vlaminck, and Manuel Ortiz de Zárate. In all, 45 artists participated with 87 works of art displayed.
The preface of the catalogue was written by French art critic and an ardent propagandist of Cubism Maurice Raynal. 28 artworks were reproduced in the catalogue.
Maurice Raynal delivered a surreal preface laced with philosophy, theology, seemingly geared towards the collectors inner sensibility:
Afición ciega razón, says a Spanish proverb. Well! yes. It is necessary that affection blinds reason. So do not try here to discriminate against efforts divergent from sensibility and sensuality. Look and choose, or rather let yourself be taken, stop in front of what captures you, because we never choose. ... love does not choose, it takes what it finds. So do not try to compare and therefore do not label. Only true love has to make comparisons, and the elective character we would like to bestow upon it is only a pleasant fantasy around its power. ... Breathe nature only with all the pores of your sensitivity, contemplate the universe through your window or in your own mirror if you prefer. This one tell you: "This is what nature has shown me". That one will affirm: "That is what I showed nature". Just remember that we only have at home the painting that we deserve. (Maurice Raynal, 1920)
"... Indeed, the work no longer resides in the more or less successful combination of colors, in the game of lines that approaches more or less high degree the reality. There is no similarity, not even distant. The joke of representation has lasted too long ... giving way to compositions where the plastic values, exempt of all representative or symbolic intent, may not play as significant a role as the signature or title. ... "
The negative reviews from the Catalan cultural and artistic institutions following the first publications of 391, appeared to have interfered in Picabia's exhibition at Dalmau, despite the fact that tendencies were flowing inexorably toward the avant-garde, Dada included. Neither André Breton's conference or the exhibition catalog were particularly successful. However, there was published an extensive article on Picabia and Breton's conference in La publicitat, written by the art critic .Magí Albert Cassanyes, Sobre l'exposició Picábia i la conferencia de Breton
To his credit, writes Elisenda Andrés Pàmies, since 1912 Josep Dalmau had been the first and only Catalan dealer to have established relationships with the creators of the diaspora and welcomed them into Les Galleries Dalmau. Picabia's exhibition solidified that continuity.
Dalmau published the first four issues of the Dadaist review 391 (1917–1924) and Cinquante-deux miroirs (1914–1917) created by Picabia.
During the mid-1920s, the gallery scene in Barcelona was very sophisticated, organized and complex. Dalmau was faced with competition in 1925 when the Maragall brothers—, youngest son of the poet Joan Maragall, and Raimon Maragall—purchased the gallery Sala Parés, joining the world of galleries and energizing the market. Sala Parés became a rival of Galeries Dalmau, since it attracted an important branch of artists (Modernism and Noucentisme), formerly promoted by Dalmau and (founded in 1915).
Lorca's works were a blend of popular and avant-garde styles, complementing the artists poetry collection, "Canción" (Song), which was printed a month prior to the exhibition. Both his poetry and drawings reflected the influence of traditional Andalusians motifs, Cubism, and a preoccupation with sexual identity. Several drawings consisted of superimposed dreamlike faces (or shadows). He later described the double faces as self-portraits, showing "man's capacity for crying as well as winning", inline with his conviction that sorrow and joy were inseparable, just as life and death. Leslie Stainton, Lorca – a Dream of Life, Bloomsbury Publishing, 2013,
In a sketch titled The Kiss, he drew a face much like his own, attached at the lips with another face, the profile of which resembled Dalí. Dalí had also drawn Lorca's face next to his own. Dalí later wrote of this period in his life as an artist, "for the duration of an eclipse", Lorca's shadow "came to darken the virginal originality of my spirit and of my flesh." Lorca too was consumed by Dalí, something visible in both his Cubist idiom and Surrealist syntax. The exhibition included a recognizable portrait of Dalí (cat. no. 14), part of a series Lorca had drawn at the time.
Lorca's exhibition attracted less attention than Dalí's, though there was some favorable press coverage, mainly by his friends, Dalí included. To Lorca's surprise, he did sell four drawings. Once the exhibition completed he gave the rest of the drawings to his friends.
Reviews included a lengthy exposé in La Gaceta Literaria by Sebastià Gasch, particularly on the Cubist aspect of the exhibition, Sebastià Gasch, La Inaugural de las Galerías Dalmau, La Gaceta Literaria, November 1920 and by , under the pseudonym Baiarola, in La Veu de Catalunya. Rafael Benet (Baiarola), Exposicio Art Modern Nacional i Estranger, Vida Artística, La Veu de Catalunya, Any 39, núm. 10438-10451 (16–30 nov. 1929), Sunday 16 November 1929, p. 4, Biblioteca de Catalunya
In 1936, Dalmau became president of the Associació d'Artistes Independents and drafted its manifesto. Associació d'Artistes Independents, 1936, catalogue Josep Dalmau i Rafel, Enciclopèdia.cat Associació d'Artistes Independents. Primer Saló 1936. Exposició del 30 Abril Al 25 Maig, Catàleg en línia de l'Arxiu Municipal de Barcelona Inauguració del I Saló de l'Associació d'Artistes Independents, 1936, Catàleg en línia de l'Arxiu Municipal de Barcelona He died the following year.
Acín Aquilué, Ramón
Agero, August
Amat Pagès, Josep
Aragay, Josep
Aymat, Tomàs
Badrinas Escudé, Antoni
Ballesté, Jacint
Bardas, Nicolau Isidro
Barradas, Rafael
Basiana Arbiell, Evarist
Bechini, Gabriel
Begué, Hortense
Beltran Sanfeliu, Josep
Benet Vancells, Rafael
Bergnes, Guillem
Blanchard, María
Blanes, Camilo
Bosch Canals, Andreu
Boussingault, Jean-Louis
Braque, Georges
Bréton, André
Burty, Frank
Camarasa, F.
Camps, Francesc
Canals, Ricard
Cano, Manolo
Carles Rosich, Domingo
Cassanyes, Magí
Castanys, Valentí
Cénac Bercciartu, Enrique
Charchoune, Serge
Cid, Remigio
Clapés Puig, Aleix
Climent, Enrique
Cochet, Gustavo
Colom, Joan
Coscolla Plana, Feliu
Costa, Miquel
Costa, Pere
Cross, Henri-Edmond
Cueto, Germán
Dalí Domènech, Salvador
Dalmau Rafel, Josep
Dam, Bertil
De Regoyos, Darío
De Togores Llach, Josep
Delaunay, Sònia
Derain, André
Donskaia, Tatiana
Duchamp, Marcel
Dufy, Raoul
Dufy, Jean
Dunoyer de Segonzac, André
Dunyach Sala, Josep
Elias Bracons, Feliu
Enguiu Malaret, Ernest
Espinal Armengol, Marià
Estivill, Ricard
Fabrés, Júlia
Fernández Peña, Manuel
Ferrer, Agustí
Figueras, Llàtzer
Flores Garcia, Pedro
Friesz, Emile-Othon
Garay, Luis
García Lorca, Federico
García Maroto, Gabriel
Gausachs Armengol, Josep
Genover, Ignasi
Gérardin, Marthe-Antoine
Gernez, Paul-Élie
Gilberto, Lluís
Gimeno Arasa, Francesc
Gimeno, Martí
Gleizes, Albert
Gol, Josep Maria
Goller, Joseph
Gómez dela Serna, Ramón
Gómez, Helios
González Sevilla
Gosé Rovira, Xavier
Gottlieb, Leopold
Gris, Juan
Grunhoff, Helene
Guàrdia Esturí, Jaume
Guarro, Joan
Güell, Xavier
Gusef, Kallinic
Guyás, An
Hayden, Henri
Herbin, Auguste
Hermann-Paul, René Georges
Hoffmann, Robert
Homs Ferrés, Elvira
Humbert Esteve, Manel
Jack, Georges (?)
Jernàs, Elsa
Jönzen, Hadar
Jou, Lluís
Jujol, Josep Maria
Junyer, Joan
Kammerer, Ernst
Labarta, Francesc
Lagar, Celso
Lagut, Irène
Laprade, Pierre
Laurencin, Marie
Le Corbusier
Le Fauconnier, Henri
Léger, Fernand
Leyde, Kurt
Lhote, André
Lipchitz, Jacques
López Morella, Ramón
Losada, Manuel
Lotiron, Robert
Maeztu, Gustavo de
Malagarriga Ormat, Elvira
Manguin, Henri
Marchand, Jean
Marès, Frederic
Maristany de Trias, Luís
Marquès Puig, Josep Maria
Marquet, Albert
Matilla Marina, Segunda
Matisse, Henri
Mercadé, Lluís
Metzinger, Jean
Mimó, Claudi
Miret, Ramon
Miró, Joan
Mompou, Josep
Moreau, Luc-Albert
Moreno, Arturo
Moya Ketterer, José
Mutermilch, Mela
Natali, Renato
Nonell, Isidre
Obiols Palau, Josep
Olivé, Jacint
Ortiz de Zárate, Manuel
Öström, Folke
Palau Oller, Josep
Pascual Rodés, Ivo
Pascual Vicent, J.
Pérez Moro, Julio
Picabia, Francis
Picasso, Pablo
Pichot Gironès, Ramon
Planas, Pau
Planells Cruañas, Àngel
Portusach de Mascareñas, Josefina
Prat Ubach, Pere
Pretzfelder, Max
Pujó, Josep
Pujol Montané, Josep
Pujol Ripoll, Josep
Pujol, A. P.
Pujols, Francesc
R.de Pujulà, Germaine
Ràfols Fontanals, Josep Francesc
Ricart Nin, Enric Cristòfor
Rincón, Vicente
Rivera, Diego
Roqueta, Ramon
Roussel, Ker-Xavier
Ruiz, Diego
Rusiñol, Santiago
Ruth Cahn, Fräulein
Sermaise Perillard, Louis
Severini, Gino
Soucek, Slavi
Store, Emili
Sucre, Josep Maria del
Sunyer, Joaquím
Survage, Léopold
Timm, Ernest
Torné Esquius, Pere
Torné, Trinitat
Torres García, Joaquim
Traz, Georges de
Valtat, Louis
Vallotton, Félix
Vaño
Van Dongen, Kees
Van Rees, Otto
Velásquez Cueto, Lola
Vèrgez, Eduard
Vila Pujol, Joan
Vilà, Salvador
Villà Bassols, Miquel
Violet, Gustave
Vives, Mario
Vlaminck, Maurice
Weber, Otto
Xarraga, Angel
Ysern Alié, Pere
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