• Awards & Collections


    1892 -  Exposición de Gerona. First prize

    1892 - I Exposición Internacional de Bellas Artes, Madrid. Honourable mention

    1894 - Exposición del IV Centenario del Descubrimiento de Puerto Rico de San Juan. Gold medal

    1897 - Exposición General de Bellas Artes e Industrias Artísticas, Madrid. Second class medal

    1898 - IV Exposición de Bellas Artes e Industrias Artísticas, Barcelona. Third class medal

    1899 - Exposición General de Bellas Artes, Madrid. Second class medal

    1899 - Exposition de la Société des Artistes Français de Paris. Honourable mention

    1899 - Title of Caballero de la Real y Distinguida Orden de Carlos III

    1900 - Prize in the contest organised by the magazine Blanco y Negro

    1901 - Exposición Nacional de Bellas Artes, Madrid. First class medal

    1903 - International Exhibition of Fine Arts, Athens. Gold medal

    1907 - V Exposición de Bellas Artes e Industrias Artísticas, Barcelona. First class medal

    1910 - Exposición Internacional de Bellas Artes e Industrias Decorativas, Mexico. Medal and special diplomas

    1912 - Title of Honourary Member of the Society of Greek Artists

    1924 - Exposición de Bellas Artes de Cádiz. Medal and diploma of merit



    Museo Nacional del Prado, Madrid

    Museo Nacional Centro de Arte Reina Sofía, Madrid

    Museo Nacional de Arte de Cataluña, Barcelona

    Museo Diocesano, Barcelona

    Museo de Arte de Puerto Rico, San Juan

    Museo de Arte de Sabadell

    Fundación Francisco Godia, Barcelona

    Museo de San Telmo, San Sebastián

    Fundación Masaveu

    Colección Banco Sabadell

    Colección BBVA

    Colección Banco de España

  • Works Available

  • Biography

    Nicolau Raurich was one of the most personal and different Spanish landscape painters of the late nineteenth and first half of the twentieth century, and a key representative of post-Impressionism. After leaving the family business, he focused on his artistic training at the Escuela de Bellas Artes de Barcelona (School of Fine Arts in Barcelona) and afterwards as a disciple of Eliseu Meifrén (1857–1940). Encouraged by his successes garnered in 1892, he participated in the Exposición del IV Centenario del Descubrimiento de Puerto Rico (Exhibition of the Fourth Centenary of the Discovery of Puerto Rico) in San Juan with two works that served to consolidate him on the international art scene.


    At the end of 1894 he settled in Rome and formed part of the colony of Spanish painters. There he specialised in portraying the Pontine Marshes, following the painting of Enric Serra (1859-1918) and the romantic aesthetic that connected with Central European painting. Precisely these types of works, such as Pantanos de Nemi (Nemi marshes) (1896), Ruinas de Ninfa (Ruins of Ninfa) (1896) and Fangal (Quagmire) (1897), resulted in the definitive consecration of the painter in the official competitions. Having received awards and achieved recognition, he returned to Barcelona for good in March 1898 and focused on portraying Catalan landscapes. At this time, his style was transformed, and he abandoned the neo-Romantic approach to luminism with new pictorial formulas. Thus, from 1899, with Costas de Pineda (Coast of Pineda), thick impastos, relief, and aggressive colors were incorporated into his works as main features. Interest in the values of pictorial matter became the artist’s obsession, traits that never left his production. The expressiveness of Raurich’s landscapes were the main attraction of this new artistic period for him, in which Pyrenean visions, views of Sant Pol de Mar and high-intensity nocturnal scenes were recurring themes and those that worked best on the Catalan art market.


    During the first decade of the twentieth century, Urgell won his main awards and medals (Madrid, Paris, Athens, and Barcelona) and remained faithful to his personal style which was a renewal of post-Impressionist painting in Spain. From 1936 he remained reclused in his studio house painting, removed from the local and international artistic circuit. His work became decadent and sometimes obscure. The material that had been so well constructed in previous years became diluted, thus losing all personality. He died in June 1945, isolated, ill, and locked in his room.