|Signed: "C. Lorenzale/1844” (lower left)
Inscriptions: in the lower right corner, in red: "24678". On the frame, with two modern labels, ink, "247/88" and typed label: Museo de Bellas Artes de Barcelona". On the back of the frame, label the Academy, in ink, no. old (286), the author's name, title, and the measures; inscribed in ink: "24678".
Provenance: Museum of the former Board of Commerce
Came to the Academy's Museum: 1844.
Restaurations: restored by CCRBCM, Generalitat, 2001
Exhibitions: Barcelona, Mil•lenari de Catalunya, 1988-1989; Barcelona, Centenari de les Bases de Manresa, 1992. Exposició Verdaguer, 2003. Exposada una reproducció a l’exposició “Catlunya tierra de acogida” (2002-2003). Exposició “Romanticismo y liberalismo” 2004 no 174.
Note: The picture joined the Academy 1844, when Lorenzale sent it from Italy where he was pensioned. This work is probably the most emblematic of the Nazarene Catalan or purist movement. With a treatment inconfundiblement Nazarene, it represents a mythical episode of Catalunya's history, according to which Carlos the Calbo, with the blood of the count Wifré El Pilós in his fingers, mark on the golden shield of this one four bars that would shape the shield of the county of Barcelona.
Lorenzale dealed studies in the School Llotja and in 1837 he went pensioned to Rome where he resided until 1844, as one of the pupils D'Overbeck more enthusiasts of the nazarenism. He was a member of San Fernando's academies of Madrid and of that of San Luis of Saragossa, as well as of that of Sant Jordi of Barcelona. From 1851 he was a teacher of the top studies of painting of the Llotja, school that directed from 1858 until 1877. Together with the painter Pau Milà y Fontanals there introduced the romanticism and the theory and aesthetics purist in the official studies of fine arts of Barcelona. To the margin of the official education also he managed his own academy. In his time was a figure of the first order that influenced decisively the generations of Catalan artists. His painting centred on the historical and religious subject matter and on the portrait.|