Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 18 værker af Lluís Borrassà i vores katalog
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I galleriets øjne er Lluís Borrassàs mest berømte maleri Saint Andrew refusing to worship the Idol (1400), hvis original hænger på Museo del Prado i Madrid. Santa Barbara (1380) og Young Man Leaning out of the Window (1407) fuldender trioen, som ethvert øje genkender. Ud af de 18 værker af Lluís Borrassà i vores katalog præsenterer galleriet herunder de 18 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
The oil on panel work titled Saint Andrew refusing to worship the Idol emerged from the brush of Lluís Borrassà around 1400. This painting measures 128.2 × 84.3 cm. It captures a moment of spiritual defiance, where the saintly figure meets the gaze of an idol. The wood panel holds the weight of this confrontation within its grain.
The painting Santa Barbara by Lluís Borrassà presents a quiet, devotional encounter with the saint. Created in Spain, this religious art piece focuses on the figure of Saint Barbara. She is rendered in a vertical portrait, her presence defined by the weight of her drapery and the symbolic miniature tower held within her hands. The work is an oil on panel, a medium that allows the pigment to settle into…
We are looking at Young Man Leaning out of the Window, a work dating to 1407. This piece was executed by Lluís Borrassà, a significant figure in the history of Catalan painting. The artist's presence in the artistic landscape of the time was deeply tied to his position within the Crown of Aragon, where his talents were formally recognized through his employment by the court.
To stand before this panel is to encounter a quiet, somber moment from the late fourteenth century. This work, a fragment of an altarpiece originally intended for the Chapel of Saint Andrew in the Barcelona Cathedral, presents the apostle in a way that feels both intimate and unusual. Rather than the traditional verticality of the cross, Saint Andrew is depicted on a saltire, or X-shaped cross, positioned sideways. This choice…
Two figures occupy a space carved by gold and geometry. On the left, Saint John the Baptist emerges from the shadows of a heavy brown robe, his skin textured by the passage of centuries. He holds a white scroll, the black Gothic script frozen in a permanent command, while his finger points toward a heaven unseen. Beside him, Saint Barbara is draped in a red patterned gown that catches the…
The Saint John the Baptist altarpiece emerges from the shadows of the early fifteenth century, a luminous creation dating to about 1420. This work carries the hand of Lluís Borrassà, a painter who shaped the visual landscape of Catalonia. Born in Girona, Borrassà carries the weight of a significant lineage, having learned the secrets of the brush from his father, Honorat Borrassà. His life remains tied to the bustling energy…
In this late Gothic panel, we find ourselves witnessing a scene of profound solemnity. The composition centers upon a slender, ornate column, to which a pale, emaciated Christ is bound. The atmosphere is one of intense emotional weight, captured through a shallow perspective that pushes the narrative toward the viewer. On the left, an executioner in a bright red tunic and dark hose leans forward, the motion of his whip…
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 6 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Lluís Borrassà | Malerier fra denne liste |
|---|---|---|---|
 Museo del Prado |
Madrid | 2 | Saint Andrew refusing to worship the Idol, The Miracle Of St. Cosmas |
 Museu Nacional d'Art de Catalunya |
Barcelona | 2 | Young Man Leaning out of the Window, Crucifixion of Saint Andrew |
 Nationalmuseet for Antik Kunst |
Lissabon | 1 | Santa Barbara |
 Harvard Art Museums |
Cambridge | 1 | Saint John the Baptist and Saint Barbara |
 Musée des Arts Décoratifs |
Paris | 1 | Saint John the Baptist altarpiece |
 Goya Museum |
Castres | 1 | The Flagellation of Christ |
Vælg et årti for at se det originale værk, der definerer det.
The painting Santa Barbara by Lluís Borrassà presents a quiet, devotional encounter with the saint. Created in Spain, this religious art piece focuses on the figure of Saint Barbara. She is rendered in a vertical portrait, her presence defined by the weight of her drapery and the symbolic miniature tower held within her hands. The work is an oil on panel, a medium that allows the pigment to settle into…
The oil on panel work titled Saint Andrew refusing to worship the Idol emerged from the brush of Lluís Borrassà around 1400. This painting measures 128.2 × 84.3 cm. It captures a moment of spiritual defiance, where the saintly figure meets the gaze of an idol. The wood panel holds the weight of this confrontation within its grain.
Two figures occupy a space carved by gold and geometry. On the left, Saint John the Baptist emerges from the shadows of a heavy brown robe, his skin textured by the passage of centuries. He holds a white scroll, the black Gothic script frozen in a permanent command, while his finger points toward a heaven unseen. Beside him, Saint Barbara is draped in a red patterned gown that catches the…
The Saint John the Baptist altarpiece emerges from the shadows of the early fifteenth century, a luminous creation dating to about 1420. This work carries the hand of Lluís Borrassà, a painter who shaped the visual landscape of Catalonia. Born in Girona, Borrassà carries the weight of a significant lineage, having learned the secrets of the brush from his father, Honorat Borrassà. His life remains tied to the bustling energy…
Saint Andrew refusing to worship the Idol (1400), Museo del Prado, Madrid. Derefter følger Santa Barbara (1380) og Young Man Leaning out of the Window (1407).
40 år gammel: Saint Andrew refusing to worship the Idol er fra 1400, og Lluís Borrassà blev født i 1360.
Saint Andrew refusing to worship the Idol, Santa Barbara, Young Man Leaning out of the Window, Crucifixion of Saint Andrew, Saint John the Baptist and Saint Barbara, Saint John the Baptist altarpiece, The Flagellation of Christ, Jewish Barcelonians, The Resurrection og St Peter Is Walking On The Water. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 18 værker af Lluís Borrassà, dateret fra 1380 til 1420.
Primært i Museo del Prado (Madrid), Museu Nacional d'Art de Catalunya (Barcelona) og Nationalmuseet for Antik Kunst (Lissabon). Museumslisten ovenfor viser dem alle.
I 1400s: 3 af de 18 værker på denne side blev skabt dengang, herunder Saint Andrew refusing to worship the Idol.
På denne side er det tidligste Santa Barbara (1380) og det seneste Saint John the Baptist altarpiece (1420).
Saints (5), Man (4) og Gold background (3), fordelt på de 18 værker på denne side.
Tempera On Panel, for 6 af de 18 værker på denne side.
International gothic, baseret på originalerne på denne side.
Saint Andrew refusing to worship the Idol og The Miracle Of St. Cosmas: Museo del Prado, Madrid har 2 af værkerne på denne side.
In the vibrant tapestry of the late fourteenth and early fifteenth centuries, few threads shimmered with as much brilliance as the work of Lluís Borrassà. A pioneer who fundamentally reshaped the visual language of Catalonia, Borrassà emerged from the historic streets of Girona to become a master of the International Gothic style. His life, though shrouded in the soft mists of medieval history, reflects a period of profound transformation within the Crown of Aragon. As an artist deeply connected to royal patronage, he did not merely paint; he translated the burgeoning prestige of the Catalan courts into a visual splendor that would resonate for generations. Through his brush, the rigid traditions of the Middle Ages began to soften, making way for a more lyrical and emotionally resonant era of artistic expression.
The foundations of Borrassá’s mastery were laid in his youth, likely under the guidance of his father, Honorat Borrassà, a fellow painter. This lineage provided him with a rigorous technical grounding that allowed him to eventually establish one of the most prestigious workshops in Barcelona—a studio so influential that it remained the city's preeminent center for artistic production until 1420. His early career was marked by his presence within the court of John I of Aragon, an environment that demanded both technical precision and a sophisticated understanding of contemporary European trends. By blending the delicate ornamentation of Northern European Gothic with the nascent, humanistic influences creeping in from the Italian Renaissance, Borrassà created a unique aesthetic synthesis that felt both timelessly sacred and strikingly modern.
To behold a work by Borrassà is to enter a world of luminous color and intricate detail. His technique was characterized by an extraordinary ability to manipulate light, often utilizing gold leaf to create a celestial glow that seemed to emanate from within the altarpieces themselves. He possessed a singular talent for rendering the heavy, complex folds of drapery, giving fabric a sculptural weight that contrasted beautifully with the ethereal subjects he depicted. This mastery of texture and light served a higher purpose: to evoke a sense of divine presence and psychological depth in his figures. His faces were rarely static; instead, they conveyed a nuanced range of human emotion, from the serene piety of saints to the profound gravity of biblical narratives.
His most celebrated achievements are found within the monumental altarpieces that once graced the great abbeys and cathedrals of the region. The Altarpiece Of The Virgin, created for Santes Creus Abbey, remains a pinnacle of his career, showcasing his ability to weave complex theological themes into a breathtaking visual spectacle. In this work, the interplay of rich pigments and meticulous ornamentation serves to elevate the viewer's spirit, embodying the very essence of the International Gothic movement. Beyond purely religious devotion, Borrassà also demonstrated a remarkable capacity for narrative complexity in works such as Jewish Barcelonians, where he utilized layered figures and symbolic resonance to capture the social fabric of his time with startling clarity.
The historical significance of Lluís Borrassà extends far beyond the borders of Catalonia. By successfully introducing and refining the International Gothic style in the Principality, he provided a bridge between the medieval past and the approaching Renaissance. His workshop became a crucible of talent, influencing subsequent generations of painters, such as Bernat quite notably, and ensuring that his stylistic innovations would permeate the regional identity for decades. He transformed Barcelona into a true artistic capital, where the fusion of local tradition and international influence could flourish.
Today, the echoes of Borrassà’s genius can still be felt in the profound sense of drama and elegance that defines Catalan medieval art. His ability to capture the miraculous—as seen in the captivating St. Dominic's Rescue—and the everyday through a lens of sacred beauty ensures his place as one of the most vital figures of his age. He remains a master of the delicate balance between the earthly and the divine, leaving behind a legacy written in gold, pigment, and an enduring passion for the sublime.
