Javier Sierra, regular collaborator of AEPE, winner of the Planet Award

The best selling author Javier Sierra rose yesterday with the LXVI Planet Prize novel with the manuscript of The Invisible Fire, presented with the provisional title of The Artificial Mountain under the pseudonym of Victoria Goodman. “I want to dedicate this novel to fellow writers,” he said excitedly for the “impressive moment” because “it is the word where lies the creative force of our civilization.” “It is in the use of the word where is the origin of goodness and evil, that is the invisible fire that we all have in our interior,” explained the author in relation to his novel. Specifically, the plot points to the origin of a word “that changed the fate of Europe in the twelfth century”: “That word is Grail.”


His special collaboration with the Spanish Association of Painters and Sculptors began in 2014, when at the headquarters of the centenary entity, presented for the first time to a specialized audience, composed of painters, restorers, art critics and artists in general, the novel The Master of the Prado.

As Javier Sierra himself said, it was the first time since the publication of the novel, which was directed especially at an audience consisting mainly of painters, that is, those who narrate with their canvases the stories he wanted to unravel in his book, noting the importance of how much they paint for all those who observe his works.

The public, who was enthusiastic about the direct, clear and simple way with which he showed the subject, was receptive until the last moment of the talk, opening after a turn of questions that was very lively and in which Javier Sierra answered to curious questions and qualified many affirmations.

In a lively conversation, and before the session was adjourned, the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo, presented him with an engraving that reproduces the cover of the Gazette of Fine Arts, elaborated by the Engraving Department of the entity, as well as an AEPE Medal, which Javier Sierra thanked affectionately.

Soon after, he signed very artistically in the Book of Honor of the Spanish Association of Painters and Sculptors, and received a note of his portrait, elaborated by the students of the Portrait Workshop that took place in the headquarters of the entity.

Javier Sierra took a lot of interest in this meeting, proof of it is that he reflected on his twitter before and after the event, and also on his facebook.

Following this visit to the headquarters, the Gazette of Fine Arts of May 2014 published an exclusive interview conducted by the General Secretary of the AEPE, Mª Dolores Barreda Pérez, which can be seen in this same web tab ” News and publications “, sub-tab” Interviews and reports “.

In June 2014, the AEPE held an end-of-course party, a special day of open doors, which was attended by many members and friends and in which the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo López, wanted to personally thank each of the attendees for his involvement with our entity.

For this end-of-course party, students from the Portraits Workshop, friends, partners and artists who wanted to hold a great session in which they painted those who wanted to pose for the occasion, and in which we had a model of exception as was the known writer and journalist Javier Sierra, who maintains a close relationship with the Spanish Association of Painters and Sculptors of collaboration and unconditional support.

But there was also another surprise is that the television network Telemadrid, wanted to live with us the exciting session and so expressed in its television news of 9, with a report by the journalist Teresa Iborra, which brought all viewers to reality of the portrait in Spain.

It is the fact that this has been the first time that television has entered our headquarters on Calle Infantas. It is true that some events organized by the Spanish Association of Painters and Sculptors have already been on television, but this was the first time our headquarters did.

Javier Sierra, who was delighted to pose for such a varied crowd, delighted those gathered there and was, as usual, attentive, kind, solicitous and patient, declaring himself “very honored” to act as an improvised model .

In September of that same year, Javier Sierra surprised us by mentioning the centenary Spanish Association of Painters and Sculptors in the book that had just seen the light “The Immortal Pyramid”, Javier Sierra’s last book in which Napoléon faces one of man’s greatest desires: eternal life. In 2002 Sierra published “The Egyptian Secret of Napoleon”, but this time it was a complete, improved, rewrite of that adventure, with a better plot and new characters.

The author’s generosity towards our organization led him to include the complete name of the Spanish Association of Painters and Sculptors in the section of Acknowledgments, where mentioned José Gabriel Astudillo and Mª Dolores Barreda as President and General Secretary respectively. As the author told us, he could have mentioned them individually and privately, but he preferred to give back part of the love that he has always received from the artists and partners.

Javier Sierra counted for the edition of this book with the special collaboration of Jose Gabriel Astudillo, who made four drawings of bas-reliefs, reason for which also appears in the first pages of the same one.

Already in March 2015, Javier Sierra did not hesitate to accept the invitation of the AEPE to form part of the Jury of the 50 Reina Sofía Prize for Painting and Sculpture, repeating his collaboration in the editions of the 51 and 52 Reina Sofia Prize.

Javier Sierra (Teruel, 1971) is not only one of the most translated fiction authors of recent times – around a quarter of languages ​​- but is the only Spanish writer who has managed to climb the list of best-selling The New York Times. He entered the longed-for top ten in 2006 with The Secret Dinner.


Expert of the thriller of historical enigma and author of a ten of books between novel and essay, Sierra has more than a decade demonstrated more than his abilities of communicator in radio and television, like tertuliano, habitual collaborator or even director of several programs for the small screen, always around the mystery and the past. Among his works, the best-selling novel, The Secret Dinner (2004), the novels El Maestro del Prado (2013) and The Immortal Pyramid (2014) stand out, in order not to expose his essayistic production, such as The Forbidden Route and Other Enigmas of History (2007) and In Search of the Golden Age (2000).

Javier Sierra returns to its purest substance and to which most literary party has taken it because The invisible fire deals with the theme par excellence of the novels of the genre: the mystery of the Holy Grail. A young professor, based in Dublin, of Spanish origin and grandson of a famous writer, travels for a few days to Madrid to participate in a strange study group that is dedicated to follow the trail of the famous Christian relic in literature and the art. And what looks like mere scientific research will soon turn into something else, after the murder of one of the researchers. Following the dangerous track of the coveted Grail, the plot unfolds, as is usual in the author, much historical erudition and a great palette of cultural references, across multiple Spanish stages.

The 52 Reina Sofía AEPE Award is now available at GOOGLE CULTURAL INSTITUTE

As all the members and followers of the AEPE will know, the centenary entity works hard for the Spanish Association of Painters and Sculptors to be recognized as one of the most prestigious in Spain, endorsed by its exhibitions, contests and calls, all possible thanks to its partners, whose President, José Gabriel Astudillo López, can only thank their constant fidelity and dedication.

As a result of the close collaboration with Google, which as everyone knows is the entity that exclusively collaborates in the Reina Sofía Prize for Painting and Sculpture, we have the unique and totally enviable opportunity for AEPE to be part of GOOGLE CULTURAL INSTITUTE.

Google Cultural Institute is the Google Art Project, in which an exemplary effort is made so that the important cultural material is available and accessible for all, with the purpose of preserving it and above all, to educate and inspire future generations.

The project has been associated with a number of prestigious institutions and the category of the British Museum, the Royal Theater, Acropolis Museum, Banco Santander Foundation, Mapfre Foundation, National Archaeological Museum … and for a year now, the Spanish Association of Painters and Sculptors is also present among the greats with the following exhibitions: CervARTES, the traveling tribute of the AEPE that throughout a year toured the stages of the immortal genius, and the 50, 51 and 52 Reina Sofía Prize for Painting and Sculpture , the latter, which finishes getting on the platform and allows to see in a dynamic and exclusive way, the works awarded and selected in this last edition.

We are trying to make every exhibition and exhibition of the Spanish Association of Painters and Sculptors visible in GOOGLE CULTURAL INSTITUTE and be a new source of pride for all its members.

This is a great step for a centennial institution such as ours, which allows us to be present in such an important project and reach millions of users around the world, we invite you to find out if you do not know it at the following address: www.google .com / culturalinstitute / home


Foundry Codina, collaborator of 83 Salon d’Automne

The story of five generations of this family is the history of our sculptural heritage. Its origin dates back to the activity of Federico Masriera and Francesc Vidal in the nineteenth century modernist Barcelona. Federico in 1891 opened his own artistic foundry, with his nephew, which Masriera and Campins call, which recovered the lost wax technique. After a while Masriera and Campins left the company partnered with Benito Codina. Shortly after they moved to Madrid and were the germ of the current foundry Codina Hermanos, whose furnaces from the street Cartagena to Albarracin until the present location in Paracuellos del Jarama have shaped the works of more than 750 sculptors using 12,000 tons cast bronze.


The result of intensive and close collaborative work with the Codina Foundry, in 2014 the award “Foundry Codina Award” was established, endowed with an important artistic sculpture out of their workshops or melting of a work, for the edition 81 traditional Autumn Salon.


Since then, this will be the third consecutive year in which that historical foundry Codina, who also supported the Spanish Association of Painters and Sculptors on the occasion of the 50th Queen Sofia Prize for Painting and Sculpture, with casting in bronze an original and unpublished work of Julio Lopez Hernandez, Jose Gabriel Astudillo, President of the AEPE, gave to SM Queen Sofia, Honorary President of the centennial institution, thanking them for their presence and for the anniversary.




A little history

Youth friendship between Federico Masriera and Francesc Vidal, the seed emerges Smelter. Francesc Vidal, head of the artistic industries F. Vidal and Company, was one of the promoters of decorative arts at the dawn of Modernism.

Since opening its first store in 1878, he highlighted by the bold initiative in Catalonia to introduce a new concept of interior design from a global, modern and artistic perspective. Vidal large workshops were the center of experimentation and creation, where the ideals of the English Arts & Crafts movement were answered in each of its artistic sections.

More than two hundred craftsmen worked on building interiors and furniture were generally identifiable by the combination of decorative elements. Federico Masriera, learned the trade at the prestigious jewelry shop and silver from his father José Masriera. Among the members of the Masriera family, dedicated to the goldsmith since 1839, also it highlights the figure of his son Louis, responsible for the designs considered best collection of jewelry in the world. Their designs inspired by Modernism revolutionized the world of Spanish jewelery.

Francesc and Federico were the drivers of light decorative arts of Modernism. Their biographies are intertwined with such big names as Domenech i Montaner, Gaudí, Ramon Casas, Santiago Rusiñol, Miguel Blay, etc.

In the Castell dels Tres Dragons, particularly in the restaurant of the Exhibition and directed by Lluis Domenech i Montaner and Antoni M. Gallissà, an important group of artists gather. Many of them had collaborated with Francesc Vidal, a true promoter of the arts. Thus, the figures of Frederic Masriera, Eusebi Arnau, Antoni Jaume Pujol Rigalt and contribute to the rise of the decorative arts.

The company could not be more fruitful and Catalan Modernista craft experienced strong growth, especially from their jobs. Born of enthusiasm and interest for and development of artistic Federico Masriera industry invested its capital in expanding artistic workshops with known casting advances.

They then began to melt large sculptural groups, highlighting the Columbus statue in Barcelona; figure that crowns the monument inaugurated in June 1888 for the Universal Exhibition of that year.

The company is dissolved and, in 1891, Federico mounted his own artistic foundry, which from 1896 renamed Masriera i Campins by partnering with his nephew Antoni Campins. One of his contributions was the recovery of the art foundry lost wax, giving higher quality parts. They made reproductions of ancient works of art and created the so-called “living bronzes” and specializing in decorative sculpture of small dimensions that was available to a wider audience.

“… Be so recent application of the procedure in Spain, either by the scarcity of publications dealing with such matters in our country, and especially by the small of here interested in art things relatively few is it true that the lost wax casting is almost completely unknown … “

So the article published in 1903 in the Journal of Public Works, Federico Masriera, founder of the Art Foundry Masriera and Campins, predecessor of the current Codina Hermanos begins.

They have over 110 years of that article and after five generations, always continuing in this office, with the same principles of our founder. “It can not be a purely mechanical and industrial process, there must be also artistic feeling in almost all operations.”

As this is a new procedure in Spain, from the beginning had to face great difficulties, lack of some materials, experience of the operators, local deficiencies, etc.

tests with small pieces were made and in December 1893 the first large work lost wax melted in Spain. It was a group of three figures entitled “GERONA 1809”, work by sculptor Antonio Parera.

Until then, the works lost wax casting erected in our country had been made abroad, mainly in Italy. Soon the interest and confidence of the most famous artists, which soon ceased to send its models abroad, to bring them to this casting was achieved.

After learning that expensive, a new establishment with great artistic and mechanical elements mounted. The smelter reached such a development that it came the most important monuments, with the signatures of the most renowned Spanish sculptors and some other foreigner. The house won the Grand Prize of Honor at the World Exhibition in Paris in 1900.

In 1902 they opened their own shop in Barcelona, ​​decorated by Victor Masriera. These were the foundations of an industry that Antonio Campins, with twenty-two, began after a trip by smelters Rome, Milan and Naples.

Years later Masriera and Campins left the cast was associated with his brother Benito Codina, great-grandfather of the current directors Miguel Angel artisans and Maria Luisa Codina. They moved to Madrid smelter. By then it was called “La Metallo”.

Eventually her three children, Francisco, Benito and Joaquín became part of the company. The cast remained the most prestigious in the country.

Then two descendants of Benito, Juan Codina and his brother Miguel Angel joined. Already at that time the foundry Codina Hermanos was called. After the death of Miguel Angel, his sons Michelangelo and Maria Luisa picked up the baton, and a few years ago the last of the saga, the son of Maria Luisa, Julio joined. Codina has been witness and protagonist of the evolution of the artistic currents of the country, since the dawn of Modernism, the new currents of Catalan Noucentisme, the Vanguards and other social and artistic movements to reach the current sculpture. This is an extraordinary adventure that has survived the nineteenth century XXI.