{"id":6516,"date":"2026-07-29T07:13:00","date_gmt":"2026-07-29T07:13:00","guid":{"rendered":"https:\/\/biennalxmiserachs.org\/qr-casanovas\/"},"modified":"2026-07-30T13:30:44","modified_gmt":"2026-07-30T13:30:44","slug":"qr-casanovas","status":"publish","type":"page","link":"https:\/\/biennalxmiserachs.org\/en\/qr-casanovas\/","title":{"rendered":"QR Casanovas"},"content":{"rendered":"\t\t
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\u201cELS CASANOVAS. NISSAGA DE FOT\u00d2GRAFS\u201d
(The Casanovas. A Lineage of Photographers)<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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This retrospective exhibition of the Casanovas family line of photographers rummages around in Palafrugell\u2019s history and, in parallel, into the history of photography and the transformations that both experienced generation after generation.<\/p>

About 150 years ago, Llu\u00eds Casanovas Marqu\u00e8s (Palafrugell, 1857-1934) was the first of a line of photographers formed by the man himself, his son Ling Casanovas Lallement (Palafrugell, 1891-1954), his daughter Aura Casanovas Lallement (Palafrugell, 1893-1988), a specialist in retouching and colouring photographs, his nephew Llu\u00eds Casanovas Sierra (Palafrugell, 1919-2011) and his great-nephew Llu\u00eds Casanovas Mart\u00ednez (Barcelona, 1950).<\/p>

The elder Llu\u00eds Casanovas was a cork maker and settled in \u00c9pernay (France), the heartland of the Champagne region, seeking to delve into the wine cork industry. There, however, he became fascinated by the new world of photography and learned the trade with a portrait artist in Paris, where there was an incessant flow of novelties in photography. <\/p>

While in \u00c9pernay, he met Ath\u00e9na\u00efse Lallement Campion, with whom he returned to Palafrugell around 1885. Back in Palafrugell, he started working as a photographer, although he didn\u2019t initially stop working as a cork maker. With his camera and tripod, he took photos of people and groups outdoors, until he opened his first photo gallery on Carrer Conc\u00f2rdia. <\/p>

Then, in the late 19th century, he opened a new gallery on Carrer Begur, on the corner with Carrer de la Garriga, before moving into a new one on Carrer Mar\u00e7al de la Trinxeria around 1910. Finally, in the 1950s, the Casanovas definitively set up shop on Carrer Torres Jonama. The family also had a stand open on market days and Sundays on Carrer del Pedr\u00f3 in Palam\u00f3s, in a gallery that was destroyed by bombings during the Spanish Civil War. <\/p>

In short, every generation of the Casanovas family has been portrait artists, while they have also made brief incursions into the world of printing post cards, as well as reporting events and local festivities.<\/p>

The photographs all bear the signature L. Casanovas, which matches the names of two different photographers from this family line, Llu\u00eds and Ling. Although this makes it difficult to know precisely which family member was the artist behind each image, in some cases we can deduce it by the date of the photograph. Both \u201cL. Casanovas\u201d as well as \u201cFotograf\u00eda Casanovas\u201d were trademarks that the family used throughout this period which we have sought to respect in this exhibition. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The ideal of female beauty through studio photography<\/strong><\/h5>

Studio photography has always been a reflection of the ideals of beauty in any given era. Photographs not only portrayed women as they were, but also how society believed they should be. <\/p>

In the late 19th and early 20th centuries, female beauty was associated with respectability, elegance and self-restraint. Women appeared with rigid postures, elaborate dresses, waists highlighted by a corset and serious expressions. The portraits sought to convey dignity, social status and virtue. <\/p>

During the 1920s and 1930s, modern women started to feature more prominently. Short hair, a straighter figure and a more independent attitude gradually replaced the Victorian models. Photography accentuated sophistication and glamour inspired by the cinema. <\/p>

In the 1940s and 1950s, this ideal was oriented towards more sensual and elegant femininity. Hollywood actresses had a profound influence on studio portraits, which highlighted curves, elaborate hairstyles and a harmonious, refined conception of beauty. <\/p>

Later, theses canons of beauty became more diverse. Youth, naturalness and freedom of expression started to compete with traditional ideals. Photographs showed more spontaneous women less conditioned by social conventions. <\/p>

Over the course of more than a century, studio photography has thus gone from representing women as an idealised and often passive model of beauty to progressively portraying them as individuals with their own identity, capable of defining their own image and beauty.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A Multi-Coloured Carnival: the art of colouring photographs<\/strong><\/h5>

During the first decades of the 20th century, most photographs were in black and white. However, the desire to bring images closer to reality, and also to a certain idea of beauty, led many photographers and photo restoration specialists to colour them manually. <\/p>

Colouring photographs required skills quite similar to those of a painter: a keen eye for colour, mastery of light and precise hand control. Every coloured portrait was a unique piece. <\/p>

In the case before us, Aura Casanovas Lallement was a pioneer and a true specialist in the art of manually colouring the photographs that her brother Ling Casanovas Lallement took. This not only added a touch of realism and made the images more visually appealing, but also notably increased their commercial value.<\/p>

A coloured photograph became an exclusive piece. At a time when colour prints did not yet exist or were quite infrequent, these photographs were considered objects of social prestige and they often occupied a notable place in homes, framed as if they were real painted portraits. <\/p>

Carnival photos were particularly suitable for manual colouring. Costumes, elegant dresses, masks and accessories offered a wide variety of colours that black and white could not capture. By manually applying the pigments, analine dyes and watercolours, photo retouching specialists were able to highlight the intense reds, brilliant blues, the golden hues and the ornamental details of the dresses to make the image much more appealing. <\/p>

These images were typically held as a special keepsake for an exceptional celebration. The colouring made it possible to restore part of the rich visuals of the festivity and to better convey the ambiance of joy, fantasy and spectacle that characterised carnival celebrations. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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When photographs lose their name<\/strong><\/h5>

At any given flea market, thrift store or antiques dealer\u2019s shop, it\u2019s easy to find boxes full of old photographs: studio portraits, family reunions, weddings, group outings, children staring at the camera, smiling couples or people celebrating a special moment. These images once took up a special space at home but are mixed in with unowned objects today. <\/p>

When a photograph is separated from the names, dates and family memories, it becomes an incomplete document. We see the people, but we don’t know who they were. We can gaze at their expressions, their clothes and the atmosphere of the time, but we cannot know their life stories. <\/p>

Every anonymous photograph represents a trace of a family history that has vanished. After the death of their owners, photo albums are often divided, lost or end up in the hands of people who don’t know any of the people in the photos. The passage of time takes care of the rest. In one or two generations, the names are forgotten and the photographs no longer have a personal meaning, turning into mere antique curiosities. <\/p>

This phenomenon reminds us of the importance of documenting our family records. Writing names, dates, places and circumstances on the photos may seem like a minor task, but it is a way of preserving collective memory. Without this information, the images may survive for more than a hundred years, while the story behind them disappears within a few decades. <\/p>

Perhaps that is precisely the greatest value of these anonymous photos: to remind us that memory doesn’t survive on its own. It needs to be told, shared and conveyed. Every time that we identify an old photo, jot down a name or uncover a family story, we are ensuring that a small part of our past doesn’t end up some day in a box at a flea market, becoming just another nameless image. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Curated by<\/strong>Enric Bruguera<\/p>

Produced by<\/strong>Biennal de Fotografia Xavier Miserachs<\/p>

Exhibition design by<\/strong>Llu\u00eds Bruguera<\/p>

Graphic design<\/strong>Carles Reig<\/p>

Photo prints by<\/strong>Rebel\u00b7lab Photo<\/p>

Framing<\/strong>Arte Pisano & Pellet Punto<\/p>

Linguistic advice and translations by<\/strong>N\u00faria S\u00e0bat, Daniel Parsons, Marta Moreno and Aina Pubill<\/p>

Documentary assessment by<\/strong>Paqui T\u00e9llez<\/p>

Texts printed by<\/strong>Gr\u00e0fiques Agust\u00ed<\/p>

Assembly<\/strong>Department of Culture and carpentry Pujol<\/p>

<\/strong><\/p>

Originals and prints<\/strong>Most of the images that you will find in this exhibition are digital reproductions of the original photographs. We have decided not to exhibit the original photographs that do not belong to us because many of them are over one hundred years old and are fragile, irreplaceable documents. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\u201cELS CASANOVAS. NISSAGA DE FOT\u00d2GRAFS\u201d(The Casanovas. A Lineage of Photographers) This retrospective exhibition of the Casanovas family line of photographers rummages around in Palafrugell\u2019s history and, in parallel, into the history of photography and the transformations that both experienced generation after generation. About 150 years ago, Llu\u00eds Casanovas Marqu\u00e8s (Palafrugell, 1857-1934) was the first of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-6516","page","type-page","status-publish","hentry"],"yoast_head":"\nQR Casanovas - Biennal de Fotografia Xavier Miserachs<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/biennalxmiserachs.org\/en\/qr-casanovas\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"QR Casanovas - Biennal de Fotografia Xavier Miserachs\" \/>\n<meta property=\"og:description\" content=\"\u201cELS CASANOVAS. 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