Círculo Ecuestre has held the colloquium titled Art Collecting in Spain 1900–1950, featuring Guillermo de Osma, gallerist, writer and art historian, in a meeting that brought together prominent professionals and art lovers.
The event included a presentation by Enrique Lacalle, President of Círculo Ecuestre, and was moderated by Carlos Durán, founder and director of Galería Senda, who accompanied Osma in a dialogue that offered a deep insight into the evolution of art collecting in Spain during the first half of the 20th century.
During his speech, the speaker took a historical journey that allowed for an understanding of how collecting was one of the key forces in the preservation, study, and dissemination of artistic heritage in Spain. Through emblematic examples, he explained the importance of figures such as the Guillermo de Osma gallery and the Valencia de Don Juan Institute, whose legacy reflects the rigor and passion of the conscientious collector, as opposed to more impulsive models that, according to the expert, led to significant errors in the formation of some collections.
The conference, held on April 13th, also placed special emphasis on the role of cities such as Barcelona and Bilbao, highlighting their economic and cultural dynamism as engines of collecting and the creation of museums. Barcelona, in particular, was described as an epicenter of artistic activity, where important private collections and galleries emerged, contributing decisively to the development of modern art, according to the expert.
Likewise, Guillermo de Osma addressed at the Barcelona club the evolution of the art market and the role of galleries as fundamental agents in the introduction of the avant-garde, underlining the relevance of historical spaces such as Sala Parés or Galería Dalmau, which boosted the arrival of modern art in Spain.
In addition, the dialogue focused on the figure of the contemporary collector and the current challenges of the art market. Guillermo de Osma reflected on the growing influence of financial factors and the loss of direct connection with the artistic work, defending the need to recover enjoyment and knowledge as the pillars of collecting.
The session concluded with an exchange of ideas between the speakers and the audience, reaffirming the interest in a subject that, beyond history, remains essential for understanding the present and future of art.