The Calvary and its strength as a setting for a chapel

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Simulation of the chapel project.

Sometimes we work on designs and projects that do not come to fruition but that represent a nice an exercise in artistic creation, an exploration of symbolic language and its possible plastic applications.. These works, which sometimes remain in the workshop, are very valuable to us, because they are, to say the least, a place for meeting and creativity for our artists.


The purpose of the approach taken in this case was to provide a small crypt with a decisive element that would elevate the hearts of the faithful and prepare them for prayer. It was intended generate an atmosphere of intimacy by recreating one of the most significant places for Christianity: Mount Calvary.The site where Christ was crucified, located on the other side of the ancient walls of Jerusalem.

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The crucifixion sceneexpressed in an aesthetic code proper to our time, was The entire front wall of the building was designed to be occupied by the entire front wall, respecting its irregularities.

The iconographic elements used are not only at the service of the representation of a "Déesis" but the whole is enriched with other contiguous motifs.

Thus, we see the issue of mercythe the three Marys or the company's own resurrectionimplicit after the death on the cross.


The The multiplied presence of the image of Christ differentiates two distinct registers, corresponding to the earthly part - the recumbent Christ in the lower part - and to the divine part - the crucified Christ and the resurrected Christ in the upper part.

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Maria is of crucial importance and, transcending the moment of death, links both worlds. She does not mourn the recumbent Christ, but raises her gaze to the luminous face sketched beside the cross, symbolizing the resurrection and divinity of her son. This pictorial element located to the left of the cross covers and complements the compositional needs by filling an excessive void. which would otherwise generate negative sentimentThe work would show Christ in a solitude and isolation that would essentially change the work.

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Detail of the approach to the pictorial ensemble

If we look at the cross, we see a Christ with a serene, non-suffering face; a majestic Christ who looks ahead and seeks to enter into dialogue with those who contemplate Him.. And it does so from two heights: from the cross and from the celestial area of the Resurrection. This way of proceeding through iconographic multiplication has been widely used, not only in modern art -as in the Chapter House of the Almudena Cathedral- but also in classical art -as in the Last Judgment in the Sistine Chapel-.

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The painting was designed to be worked by means of mixed techniqueThe mural substrate was previously prepared with a textured surface. In this way it would be achieved to give continuity and fully integrate the two areas: wall and painting. The pictorial treatment contemplated the application of current trends of great plastic exquisitenessThe use of the colors, which will give versatility, dynamism and expressiveness to the composition.

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28806, Alcalá de Henares,
Madrid. Spain
(+34) 91 802 36 55

Serving the Church with sacred art since 1891

Serving the Church with sacred art since 1891

C/ Galileo Galilei, 19.
28806, Alcalá de Henares,
Madrid. Spain
(+34) 91 802 36 55

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