They established the workshop at number 6 of Ast\u00faries street in the neighborhood of Gr\u00e0cia, where it is currently located. His first works were by the artist Dar\u00edus Vil\u00e0s and the architect Josep Maria Pericas, the stained glass windows of the parish of Carme in Barcelona, and the parish of Sant Joan in Reus, and the stained glass windows of the crypt of the Sagrada Familia in Barcelona. The workshop worked on the production of leaded glass, its restoration and engraved glass. The workshop was collectivized during the civil war and both J.M. Bonet and Xavier Bonet devoted themselves to other professional activities. At the end of the war the workshop concentrated on the reconstruction of temples destroyed during the war. J.M.Bonet worked on the stained glass windows of the chapter house of the monastery of Poblet, on the stained glass windows of the monasteries of Vallbona de les Monges and Santes Creus, on the stained glass windows of Santa Maria de les Avellanes, on the parish church of Sant Joan de Lleida, on the stained glass windows of the Cathedral of Sant Feliu de Llobregat, according to drawings by Francesc Labarta and on the parishes of Jes\u00fas and Sant Joan de Gr\u00e0cia. He also worked with architect JosepMaria Jujol<\/a> in the parishes of Santa Maria de Vilanova i la Geltr\u00fa<\/a> and Sant Joan Desp\u00ed. Xavier Bonet began new business ventures and finally left his posts at the glass company, which remained in the hands of Josep Maria Bonet.<\/p>\n Towards the 60s, a new era began in which the stained glass was again an artistic field with its own discourse and worked with the artists WillFaber<\/a> in the stained glass windows of the creuer of the church of Llars Mundet<\/a>, with Ramon Rogent in the stained glass windows of the chapel of l’Esgl\u00e9sia de les Llars Mundet<\/a>, with Ramon Rogent in the stained glass windows of the chapel of l’Esgl\u00e9sia de l’Esgl\u00e9sia de les Llars Mundet<\/a>. The stained glass windows to which we refer have in common having been designed by the artist Rafael Caseres. The Bonet workshop worked in the middle of the twentieth century maintaining a scrupulous division of the tasks performed by each artisan in the construction process. There was the designer who made initial drawings following the client’s indications, the stained glass painter who was responsible for adapting the drawing to the natural size and deciding where each of the pieces would be carved, the technician who made the templates for each piece of glass, the one who carved them so that they could be painted and taken by the glass painter, the glassmaker who leaded the glass, fitting the glass into the lead strips and even two more specialized glassmakers in two final stages of finishing. For many years one of the project designers was this artist, whose extensive work in stained glass is preserved in the Centre de Documentaci\u00f3 i Museu de les Arts Esc\u00e8niques (Documentation Center and Museum of Performing Arts). Here you can find elaborated scenographic projects, costume designs and even posters. Some more brief reference to his career in the artistic circuit appears in the magazine Arts i Bells Oficis where, after a collective exhibition at the Laietanes galleries, they say of him: ” We can still find a review by M. Rodriguez Codol\u00e0 in 1931 citing the author as a prominent illustrator of the artistic group “Uns Quants” where the painter Gimeno also belonged.<\/p>\n The artist died in the summer of 1989 at the age of 85 according to the obituary of La Vanguardia. Many projects have been preserved in the workshop, such as Sant Joan de Reus, Santa Maria de les Avellanes, and the Angels Parish in Barcelona. He is also a hard-working professional dedicated with heart and soul to his art.<\/p>\n Central part of the project of the stained glass windows of the Parr\u00f2quia dels \u00c0ngels de Barcelona.<\/em><\/p>\n From the stained glass windows made by J.M.Bonet in Lleida we find a triptych with angels designed by Caseres and painted by the stained glass painter Gavald\u00e0, built in 1955 at the Col-legi Sagrat Cor. This artisan was an independent stained glass painter who worked from one workshop to another. He is recognized in the workshops as a very technical and political painter, although unfortunately there are not many documents to prove it. A reproduction of an engraving by D\u00fcrer, painted and signed by him, is kept in the workshop.<\/p>\n Miracle de San Humbert. Stained glass painted by Gavald\u00e0.<\/em><\/p>\n Unfortunately the church of the Col-legi del Sagrat Cor is currently deconsecrated and in our visit to the city we have visited the space of the old church that preserves the plant but we have not been able to find the stained glass. In the archive we find several projects of Caseres with angels that could be similar to the lost stained glass, although we may never know how the stained glass Gavald\u00e0 would have painted it.<\/p>\n Project by Rafael Caseres.<\/em><\/p>\n The second building we visited was the Parr\u00f2quia del Carme on Rambla de Ferran. The current building was built after the civil war by architect Gabino Lagarriga in 1959. On the occasion of the fiftieth anniversary of the church a book about the history of the temple was published and we were contacted in search of more documents about the stained glass windows which is signed at the bottom right. The workshop documentation states that the stained glass was made in 1961.<\/p>\n Vitrall of the parr\u00f2quia del Carme. Photograph of the same parish church.<\/p>\n The window has a diameter of almost 4 meters, it is mounted on a t-iron frame that divides the surface into 12 panels. The stained glass is painted profusely and all the fishes without exception have been worked with grisaille, this is common to the figurative stained glass projected during those years. Characteristic of Rafael Caseres is the perimetral outline of almost all of the fish. This gives an air of modernity to the stained glass and distances it from realistic representations, bringing it closer to the world of illustration. The scene represented is the apparition of the Virgin of Carme to Simo Stock, in which this monk receives the scapulars of the order.<\/p>\n The stained glass is in a very good state of conservation with some small alterations very common of the stained glass of this period: small accidental fractures in the glass pieces and the cracking of some grayscale. The original project has not been preserved.<\/p>\n The stained glass windows are sometimes a part of the heritage a bit forgotten and mistreated, both by those in charge of heritage management and by historians. But they are full of unique details that make them very special and that we hope to be able to show you more and more, explaining more about how they are made and how they are made, by whom and how they are made to help these objects to be more valued. The windows of the Catalan bisbats have a millenary history of References<\/strong><\/p>\n R\u00e0fols, J.F.. Biographical Dictionary of Artists of Catalonia<\/em> (in Spanish). Barcelona: Editorial Mill\u00e0, 1951.<\/p>\n “The match between champions”. La Vanguardia (June 30, 1923)<\/p>\n “Xavier Bonet, current captain of CD Europa”. El Mundo Deportivo<\/a> “Talking with Javier Bonet”. El Mundo Deportivo (August 24, 1925)<\/p>\n El martiri dels temples a la di\u00f2cesi de Barcelona (1936-1939) \/ Josep M. Mart\u00ed i Bonet Arxiu Diocesu Dioces\u00e0 de Barcelona<\/a>, 2008. Art i Bells oficis. Promotion of decorative arts. 1931<\/p>\n La Vanguardia Diumenge 27 d’Agost de 1985.<\/p>\n La Vanguardia. Page 5. Sunday April 12, 1931<\/p>\n","protected":false},"excerpt":{"rendered":" Recently we have visited the city of Lleida in search of two stained glass windows made in the 50’s in our workshop. Although the J.M. Bonet workshop has its origins in the province of Lleida, it is not as a bishopric where the company’s largest projects have taken place. The discovery of documentation in the […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[100,101],"tags":[],"servicios":[],"vidrieras":[],"class_list":["post-17479","post","type-post","status-publish","format-standard","hentry","category-modernisme-en","category-uncategorized-en"],"acf":[],"yoast_head":"\n![\"image003\"](\"https:\/\/vitrallsbonet.com\/wp-content\/uploads\/2016\/01\/image003-300x278.jpg\")
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\nHospital de Granollers<\/a>, the parish of Rub\u00ed, in the stained glass windows of Dom\u00e8nech Fita<\/a> for the Cathedral of Girona<\/a> and with Carles Madiroles for the Carmelites of Vic. Josep Maria Bonet was awarded the title of mestre artes\u00e0 vitraller\u00e0 in 1986. I died in Barcelona in 1988.<\/p>\n
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\nRafael Caseres presents himself here as an illustrator as rich in fantasy as in detail. The coloration of his very modern drawings and the purity of the clean lines, derive from the English illustration passed on”.
\n<\/em><\/p>\n![\"image004\"](\"https:\/\/vitrallsbonet.com\/wp-content\/uploads\/2016\/01\/image004-631x1024.jpg\")
<\/a><\/p>\n![\"image005\"](\"https:\/\/vitrallsbonet.com\/wp-content\/uploads\/2016\/01\/image005-683x1024.jpg\")
<\/a><\/p>\n![\"image006\"](\"https:\/\/vitrallsbonet.com\/wp-content\/uploads\/2016\/01\/image006-1008x1024.jpg\")
<\/a><\/p>\n![\"image007\"](\"https:\/\/vitrallsbonet.com\/wp-content\/uploads\/2016\/01\/image007-1024x768.jpg\")
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\nthe one that the vitralls that have been made in the recent past or of those that we make today are hereus.<\/p>\n
\n(August 28th, 1922)<\/p>\n
\nArticle d’Eugeni D’Ors a la Vanguardia del 1954.
\n<\/a>www.cdmae.cat<\/a>
\nweb del center de documentaci\u00f3 i<\/p>\n