What are your main responsibilities in your current role?
I currently lead the group Timia Art & Research, a company I co-founded.
The purpose behind its creation—reflected in its name, which derives from classical Greek—is to dignify and revalue Old Masters preserved in private collections. Through research and cataloguing, which allow for the recovery of the identity and memory of artworks, these pieces are granted a new life and a prosperous future.
Our documentation services are complemented by guidance and management of the art collections that safeguard them, whether private or public.
At Timia Art & Research, we work both nationally and internationally to offer collecting a renewed perspective that fosters a perfect balance between Old Masters and their perception in today’s world.
What has been your professional journey to where you are today, and what were the biggest challenges you faced?
My professional career began while I was still studying for my degree in Art History—an experience and passion that led me to pursue a Master’s in Medieval Culture.
At that time, I started working in the private sector through an independent research group led by Dr. Antoni José i Pitarch, professor at the University of Barcelona. From that point on, I began collaborating with various private collections, art galleries, and auction houses both nationally and internationally—an experience that equipped me with the knowledge necessary to found and lead Timia Art & Research in 2019.
My greatest challenge, which fortunately remains alive to this day, is to offer a renewed vision and perception of Old Masters through a contemporary lens, with an approach that responds to today’s criteria and challenges.
How do you stay inspired and up to date in a constantly evolving field? What platforms do you use to stay informed?
I find my greatest inspiration while traveling to visit exhibitions and art fairs such as Tefaf, Brafa, Frieze, among others. I’m also inspired by engaging with other specialists who view Old Masters as a living discipline—but above all, by sharing experiences with colleagues in the field and friends who work in other areas within the art world. Hearing the impressions of professionals from different disciplines allows for a fresh and constantly evolving perspective on the subject one is devoted to.
To stay informed, I primarily consult periodicals specializing in Old Masters, as well as magazines that report on the state of the art market, such as The Artnewspaper, Ars Magazine or Gazette Drouot, along with reports published by Artnet, Artprice, and UBS Art Basel . I also listen to podcasts from institutions like the Getty Foundation or Caixaforum+.
Still, one of the sources of information I enjoy most comes from conversations and reflections with colleagues and friends—those with whom I share views, and just as importantly, those with whom I disagree.
What skills or qualities do you consider fundamental to your success in the cultural sector?
One of my greatest strengths, I believe, is the vehemence with which I defend my convictions, along with the passion I bring to my work and my unwavering belief that the cataloguing and study of the artworks we handle are essential to the prosperity and future of the pieces—and, naturally, of the collections that safeguard them.
What advice would you give to someone starting their career in the cultural world?
If I take a flashback and think about when I first started, what I appreciated most was when experienced individuals showed trust and support (non-interventionist) in the dreams and projects I was beginning to pursue. Naturally, most of those proposals didn’t succeed in their initial stages, and many didn’t even make it through a second attempt. But the projects that fell by the wayside were precisely the ones that allowed me to analyze, evaluate, and rethink my ideas in order to improve them—whether in the short or long term.
It’s also very important to recognize what does work and to celebrate it, reinforcing its value while understanding that continuous learning is essential for growth and improvement. Therefore, it’s crucial to place trust in those who are just starting out in the professional world of the arts, across its many disciplines.
Looking back on my journey to this day, I believe one of the most important lessons to internalize is the value of tenacity in serious and honest work, first and foremost—and secondly, the passion to create from a place of authenticity and sincerity.
And finally, never giving up. Keeping alive and nurturing the sense of wonder and curiosity in what one does is essential, as these emotions are what keep the work in constant evolution and refinement.
Timia Art & Research is an independent platform based in Barcelona that redefines the art of collecting through a contemporary lens on Old Masters. Its name, rooted in classical tradition, evokes the values of dignity, revaluation, and reverence—principles that guide its work. With the aim of rescuing forgotten artworks and restoring their original identity, Timia offers specialized services in research, documentation, and cataloguing, as well as consultancy and comprehensive management of private collections. Its approach blends rigorous scholarship with curatorial sensitivity, creating a balance between antiquity and contemporary creation. On both national and international levels, Timia promotes a new kind of collecting: more conscious, better informed, and deeply connected to the history and present of art.