Ricardo Magdalena Tabuenca ( Zaragoza , 3-II-1849 – id., 28-III-1910). Architect, painter, designer and artist related to the industrial arts in relation to modernism in Zaragoza.
Summary
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- 1 Biographical data
- 1Obra
- 2 Bibliography
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Biographical data
( Zaragoza , 3-II-1849 – id., 28-III-1910). Architect, painter, designer and artist related to the industrial arts in relation to modernism in Zaragoza. The son of Conrado and María, he was soon orphaned, so he completed his primary and secondary education at a municipal school and the latter and his Architecture degree with a scholarship from the City Council. He obtains the superior title on December 13, 1873, in Madrid. Married to Dolores Gallifa, he had fourteen children, one of them an architect, as well as a grandson.
He worked in Zaragoza, a city where he was the municipal architect since 1876, a position from which he was entrusted with the ignominious task of demolishing the Torre Nueva (1893), but also fruitful works such as the urban planning of the Plaza de Salamero, the alignments of the streets of Lanuza, del Olmo and la Hiedra, the isolation of the Puerta del Carmen, etc. His multifaceted talent was reflected in his theorizing and teaching work, this at the School of Fine Arts; he was also a good draftsman and watercolourist. As a restorer he worked in the collegiate church of Calatayud (cover), San Pedro el Viejo de Huesca, San Juan de la Peña and the monasteries of Poblet and Santes Creus.
With historicist tastes, he links with the theories of Viollet-le-Duc, and in this line and always trying to renew regional styles, Magdalena began his architectural production, as his disciple Regino Borobio would later do.at the beginning of his career and in the Franco years. From the end of the 19th century, Ella Magdalena Ella preferred the new modernist style, already widespread throughout Europe and rooted in Spain, especially in Catalonia; from here, the work of Doménech y Montaner, his contemporary, is the one that most influenced him. He does not forget the new constructive resources, such as the use of metallic structures, and, although in principle he covers his buildings with classical decorations, he will always tend towards a modern simplification of forms, although, in the modernist stage, with concessions to the decorativism of the « floral style”, so in keeping with bourgeois demand.
Constructions
Eclecticism: Zaragoza, 1874 (proj.), church in the Garrapinillos neighborhood. 1880-1882, Casa Amparo at Calle de Predicadores, 94. 1886 (projected), 1887-1892, Faculty of Medicine and Sciences at Plaza de Paraíso. Buildings for the Spanish-French Exposition: 1907, with José de Yarza y Echenique and Luis de la Figuera y Lezcano: Casa de la Caridad at Calle de Moret, numbers 1 and 4, and Paseo de la Mina; 1908, with Julio Bravo, Provincial Museum of Fine Arts in Plaza de los Sitios. Residential buildings: Plaza de Lanuza, 40 (demolished in 1978).
—Modernism: Zaragoza, 1880-1884, municipal slaughterhouse at Calle de Miguel Servet, 57, modernism-rationalism along the lines of Doménech and Montaner. Buildings for the Spanish-French Exposition : entrance arch, Palacio de la Alimentacion and Gran Casino (disappeared). Residential buildings: Coso, 23; Espoz and Mina, 31; San Jorge, 3 and Prudencio, 25; 1906, Sagasta, 11 and Sagasta, 13; 1908, Manifestation, 16; 1909, Sagasta, 19, Plaza de San Miguel, 5, Plaza de Lanuza, 34 and the disappeared: by Dionisio Lasuén Busca voz… (in Calle de Bolonia, former Art Street) and Carlos Palao . (Sagasta, 76) and Paseo de Cuéllar, 17.
