José María Sert y Badía stands as a monumental, if at times overlooked, figure in the landscape of twentieth-century art. A Catalan artist hailing from Spain, Sert carved a unique niche for himself as a master of the mural, reviving a grandeur and scale often associated with earlier epochs, yet infusing it with a distinctly modern sensibility. His canvases, often vast and dramatic, adorned the walls of prestigious public buildings, private residences, and religious sanctuaries across Europe and the Americas. This exploration delves into the life, work, artistic connections, and enduring, complex legacy of a painter who dared to think, and paint, on an epic scale.
Early Life and Artistic Awakening
Born in Barcelona on December 21, 1874, José María Sert y Badía was immersed in a world of creativity and industry from a young age. His family was prosperous, involved in the textile trade, which provided a comfortable upbringing and likely exposed him to intricate designs and the transformative power of applied arts. This background, blending artistry with a certain entrepreneurial spirit, perhaps subtly shaped his later career, where he managed large-scale commissions with considerable acumen.
Barcelona at the turn of the century was a vibrant hub of artistic innovation, particularly with the flourishing of Modernisme, the Catalan equivalent of Art Nouveau. While Sert would eventually forge his own path, the city's rich artistic atmosphere undoubtedly played a role in his formative years. He initially pursued formal art studies in his native Barcelona, attending institutions like the Escola de la Llotja. However, like many aspiring artists of his generation, he felt the pull of the great artistic centers of Europe.
A pivotal move in his early development was his time spent in Rome. The Eternal City, with its overwhelming legacy of classical and Renaissance art, and particularly the dramatic intensity of Baroque masterpieces by artists like Michelangelo Merisi da Caravaggio and the grand ceiling frescoes of Annibale Carracci or Pietro da Cortona, left an indelible mark on Sert. The sheer scale, the dynamic compositions, and the powerful narrative drive of Italian Baroque art resonated deeply with his own artistic inclinations. He absorbed these lessons, not to merely imitate, but to later synthesize them into his own unique visual language.
Following his studies in Rome, Sert, like many ambitious artists of his era, gravitated towards Paris, arriving there around 1899. Paris was then the undisputed capital of the art world, a crucible of avant-garde movements and a meeting point for artists, writers, and intellectuals from across the globe. It was here that Sert began to truly establish himself and cultivate the connections that would shape his career.
The Parisian Nexus: Misia and the Avant-Garde
Sert's arrival in Paris coincided with a period of intense artistic ferment. He quickly integrated into the city's bohemian and elite cultural circles. A significant figure in his Parisian life, and indeed in the broader cultural landscape, was Misia Godebska. Misia, of Polish descent, was a pianist, a muse to numerous artists, and a prominent society hostess whose salon attracted the leading lights of the era. Sert married Misia in 1908 (though some sources suggest slightly different dates for their marriage, their relationship was central to this period). She became Misia Sert, a name synonymous with Parisian artistic life.
Through Misia's influential circle, Sert encountered an array of groundbreaking artists and thinkers. He formed relationships with figures like the writer and filmmaker Jean Cocteau, composers such as Erik Satie and Igor Stravinsky, and the impresario Sergei Diaghilev, founder of the Ballets Russes. His involvement with Diaghilev's revolutionary ballet company was particularly noteworthy. Sert was commissioned to design sets and costumes for several Ballets Russes productions, including "La Légende de Joseph" (1914) with music by Richard Strauss and "Les Astuces Féminines" (The Cunning Little Vixen) by Cimarosa. This work placed him at the forefront of theatrical design, collaborating with some of the most innovative talents of the time, including other artists who designed for Diaghilev like Pablo Picasso, Henri Matisse, André Derain, and Georges Braque.
His Parisian studio became a hub, and his artistic style began to mature. While movements like Cubism, championed by Picasso and Braque, and Fauvism, led by Matisse, were radically reshaping painting, Sert pursued a different trajectory. He was drawn to monumental decoration, to art that engaged with architectural space, rather than easel painting for private contemplation. His vision was public, dramatic, and often narrative.
The Grand Manner: Defining Sert's Muralism
Sert's artistic signature became his "modern Baroque" style. This involved a reinterpretation of Baroque principles – dynamism, theatricality, dramatic use of light and shadow (chiaroscuro), and often, colossal figures – through a twentieth-century lens. He frequently worked in grisaille, a technique using shades of grey, black, and white, often highlighted with gold, sepia, or other subtle earth tones. This limited palette lent his murals a sculptural quality, an almost architectural solidity, and a timeless, monumental feel.
His figures are often muscular, powerful, and engaged in dramatic action, reminiscent of Michelangelo or Tintoretto, yet stylized in a way that felt contemporary. He had a penchant for depicting crowd scenes, allegorical narratives, and historical or legendary subjects. There was an inherent theatricality to his compositions, a sense of grand opera played out on vast wall surfaces. He was also influenced by the darker, more expressive qualities of Spanish masters like Francisco Goya, whose "Black Paintings" explored the more somber aspects of the human condition. Elements of Orientalism and a certain exoticism also occasionally surfaced in his work, reflecting a broader European fascination with non-Western cultures.
One of his earliest and most defining commissions was the decoration of the Vic Cathedral (Catedral de Sant Pere de Vic) in Catalonia. This monumental undertaking began around 1900 and would occupy him, in various phases and with interruptions (including destruction during the Spanish Civil War and subsequent re-creation), for much of his life, culminating in its final iteration shortly before his death. The Vic murals, depicting scenes from the Old and New Testaments and the lives of saints, showcased his evolving style and his mastery of large-scale narrative composition. The initial works were tragically destroyed by fire in 1936 during the Spanish Civil War, a devastating blow that spurred Sert to repaint them with even greater vigor in his later years.
International Acclaim: Major Commissions
Sert's reputation as a muralist of international stature solidified in the 1920s and 1930s. He received prestigious commissions that took his work beyond the borders of Spain and France.
The League of Nations, Geneva: One of his most significant international projects was the decoration of the Council Chamber of the League of Nations (now the Palais des Nations, the United Nations Office at Geneva) in 1935-1936. The vast murals, executed in his characteristic grisaille with gold and sepia tones, depict allegorical themes of human progress, peace, and international cooperation. Figures representing continents, human endeavor, justice, and strength fill the walls and ceiling, creating an imposing and thought-provoking environment for international diplomacy. These murals are considered among his masterpieces and are a powerful example of art in service of a grand ideal.
The Rockefeller Center, New York: Across the Atlantic, Sert made a significant mark in New York City. He was commissioned to create murals for the main lobby of the RCA Building (now the Comcast Building) at Rockefeller Center. This commission came about under dramatic circumstances. Initially, Mexican muralist Diego Rivera had been hired to paint a mural titled "Man at the Crossroads." However, Rivera's inclusion of a portrait of Vladimir Lenin caused immense controversy, leading to the mural's destruction in 1934. Sert was then brought in to create a replacement. His work, titled "American Progress" (completed 1937), is a sweeping allegory of American development, depicting historical figures like Abraham Lincoln alongside symbolic representations of human labor, intellect, and technological advancement. It is a powerful, dynamic composition, though stylistically very different from Rivera's more overtly political and socially critical approach. This episode highlights the competitive and often politically charged environment in which muralists of the era operated, with other prominent muralists like José Clemente Orozco and David Alfaro Siqueiros also making their mark in the Americas.
The Waldorf-Astoria Hotel, New York: Sert also created a series of murals for the Grand Ballroom of the Waldorf-Astoria Hotel in New York, completed in 1931. These murals, titled "The Marriage of Camacho," were inspired by a festive episode from Miguel de Cervantes' "Don Quixote." They are more lighthearted and decorative than his public commissions, showcasing his versatility and his ability to adapt his style to different contexts. The vibrant, swirling compositions capture the revelry and romance of the literary scene.
His work also graced private residences, such as Kent House in London for Sir Saxton Noble, and various palaces and mansions for wealthy patrons, including the Palacio de Liria in Madrid for the Duke of Alba, and the residence of Baron Henri de Rothschild. Each commission was an opportunity to transform architectural space through the power of his vision.
Artistic Relationships, Collaborations, and Competitions
Throughout his career, Sert maintained a complex web of relationships with other artists. His early Parisian years were defined by his association with the Ballets Russes circle, which included not only Diaghilev, Stravinsky, and Cocteau, but also artists like Léon Bakst and Alexandre Benois, who were seminal figures in theatrical design. Sert was considered one of the first non-Russian artists to significantly collaborate with the company.
He was a contemporary of giants like Pablo Picasso and Henri Matisse. While their artistic paths diverged significantly – Picasso and Matisse being central to the development of easel-based modernism, Sert focusing on monumental decoration – they inhabited the same art world. There were instances of competition, such as for commissions from the Rockefeller family, where Sert, Picasso, and Matisse were all considered for various projects. Sert's success in securing the RCA Building commission after Rivera's dismissal was a major coup.
In Spain, he was a contemporary of Salvador Dalí. While Dalí became the flamboyant face of Surrealism, Sert's style was more rooted in historical tradition, albeit reinterpreted. They knew each other, and Dalí certainly respected Sert's ambition and scale. Another important Spanish contemporary was the architect Josep Lluís Sert, his cousin, a leading figure in modern architecture and a proponent of integrating art and architecture, a principle that resonated with José María Sert's own practice.
Sert's work can also be seen in the broader context of a revival of muralism in the early to mid-twentieth century. In the United States, the Works Progress Administration (WPA) commissioned numerous murals during the Great Depression, with artists like Thomas Hart Benton creating epic narratives of American life. While Sert's patronage was often private or international, his commitment to public-facing, large-scale art shared some common ground with these movements.
Style, Technique, and Thematic Concerns
Sert's artistic style is often described as a "modern Baroque" or "Neo-Baroque." He favored dramatic, often swirling compositions filled with muscular, dynamic figures. His use of grisaille, often accented with gold, sepia, or ochre, became a hallmark. This monochromatic or near-monochromatic approach gave his murals a sculptural, almost bas-relief quality, emphasizing form and movement over a wide chromatic range. This technique also allowed his work to harmonize with diverse architectural settings, lending a sense of timeless grandeur.
His subject matter was frequently allegorical, historical, or mythological. He depicted grand themes: the labors of humanity, the quest for knowledge, the struggle between good and evil, scenes from classical mythology, and episodes from the Bible or literary epics. There is often a sense of heroic striving in his figures, a celebration of human energy and endeavor, but also an awareness of struggle and tragedy. His figures, though often idealized in their musculature and dynamism, could also convey pathos and suffering, echoing the expressive power of Goya.
He was a meticulous craftsman, often creating numerous preparatory sketches and studies for his large-scale works. His process involved not just painting but a deep understanding of architectural space and how his murals would interact with their environment. He painted on canvas, which was then marouflaged (adhered) to the walls, a common technique for large mural projects. Over his lifetime, it is estimated he created over 7,000 square meters of painted surfaces.
The Complexities of Politics and Patronage
Sert's career spanned a tumultuous period in European history, including two World Wars and the Spanish Civil War (1936-1939). His political leanings and associations during this time have been a subject of discussion and have, for some, complicated his legacy.
During the Spanish Civil War, Sert aligned himself with the Nationalist faction led by General Francisco Franco. He undertook diplomatic missions for the Nationalists and, after their victory, continued to receive commissions in Spain. This association with the Franco regime, which became a long-standing dictatorship, cast a shadow over his reputation in some quarters, particularly among those who opposed Franco. It's a complex issue, as artists throughout history have often navigated difficult political landscapes and relied on patronage from various regimes. For Sert, his nationalist sentiments and perhaps a desire to continue working and contributing to the cultural heritage of Spain played a role.
This political dimension contributed to a period where his work, despite its undeniable power and skill, was somewhat sidelined in post-World War II art historical narratives, which often favored the more overtly avant-garde or politically progressive artists.
Personal Life and Later Years
José María Sert's personal life was also marked by notable relationships. His marriage to Misia Godebska, while a significant cultural partnership, eventually ended. Misia herself remained a legendary figure, her memoirs providing a vivid account of Parisian cultural life. After their separation, Sert married Isabelle "Roussie" Roussadana Mdivani in 1928, a member of the "marrying Mdivanis," a family of Georgian émigrés known for their marriages into European and American aristocracy and wealth. Roussie was a sculptor and a beautiful, striking figure who often appeared in society pages. Tragically, Roussie died young in 1938.
Sert continued to work prolifically throughout his later years. A major focus was the re-creation of his murals for the Vic Cathedral, which had been destroyed during the Spanish Civil War. He undertook this immense task with renewed dedication, and the final version, completed just before his death, is considered by many to be even more powerful and mature than the original.
Beyond his murals, Sert also explored photography, using it not just as a documentary tool but as a means of artistic exploration, transforming reality into imaginative compositions. This aspect of his work is less known but demonstrates his broader artistic curiosity.
José María Sert y Badía died in Barcelona on November 27, 1945, following complications from surgery. He left behind a vast body of work that continues to command attention and provoke discussion.
Legacy and Re-evaluation
For a period after his death, Sert's reputation experienced a relative decline. The prevailing tastes in the art world shifted further towards abstraction and conceptual art, and his grand, figurative style, coupled with his political associations, led to him being somewhat marginalized in mainstream art history. Artists like Jackson Pollock, Mark Rothko, or Andy Warhol came to define the post-war narratives in different ways.
However, in more recent decades, there has been a significant re-evaluation of Sert's work. Art historians and the public have begun to look anew at his extraordinary achievements as a muralist. Exhibitions of his work and scholarly publications have brought his art to a wider audience, allowing for a more nuanced understanding of his place in twentieth-century art.
His murals in iconic locations like the Palais des Nations and Rockefeller Center remain powerful testaments to his vision. The sheer ambition, technical mastery, and dramatic intensity of his work are undeniable. He stands as a unique figure who bridged the traditions of historical grand manner painting with a modern sensibility, creating a body of work that is both monumental and deeply personal.
His influence can be seen in artists who continued to explore large-scale, figurative decoration, though few matched his particular blend of Baroque drama and modern stylization. He remains a testament to the enduring power of mural painting to transform public and private spaces and to engage with grand themes of human existence.
Conclusion: The Enduring Power of Sert's Vision
José María Sert y Badía was an artist of immense talent, ambition, and productivity. He navigated the complex artistic and political currents of the first half of the twentieth century to create a body of work that is unique in its scale and style. From the vibrant artistic circles of Paris, where he collaborated with figures like Stravinsky and Cocteau under the aegis of Diaghilev, to the hallowed halls of the League of Nations and the bustling heart of New York's Rockefeller Center, Sert left an indelible mark.
His "modern Baroque" aesthetic, characterized by dramatic compositions, powerful figures, and a distinctive use of grisaille and gold, revived the tradition of monumental mural painting for a new era. While his connections to figures like Picasso, Matisse, and Dalí place him within the broader narrative of modern art, his chosen path was distinct, focusing on the integration of art and architecture on an epic scale.
Though his legacy was for a time complicated by political associations and shifting artistic tastes, the inherent power and artistic merit of his work have ensured its enduring relevance. José María Sert y Badía remains a fascinating and important figure, a true titan of muralism whose grand visions continue to inspire awe and invite contemplation. His work serves as a powerful reminder of art's capacity to engage with history, mythology, and the enduring human spirit on the grandest of stages.
