Félix Granda facts for kids

Félix Granda y Álvarez Buylla (born February 21, 1868 – died 1954) was a Spanish Roman Catholic priest and a talented artist who created religious art. He started a special workshop called Talleres de Arte (which means "Workshops of Art"). He led this workshop until he passed away. Today, the workshop is known as Talleres de Arte Granda in Spanish-speaking countries and Granda Liturgical Arts in English-speaking countries. They continue to create beautiful religious art.

Early Life and Artistic Beginnings

Félix Granda was born on February 21, 1868, in a place called Mieres in Asturias, Spain. He was the oldest of six children. His father was a doctor.

When he was just ten years old, Félix began studying to become a priest. At the same time, he also learned many artistic skills like drawing, painting, sculpting, and working with metal. He learned from skilled artisans, which are people who make things by hand. During his summers, he spent time with a group of painters, including the famous Joaquín Sorolla y Bastida.

In 1891, Félix Granda became a priest. In the same year, he started his art studio in Madrid. This studio quickly became one of the world's best for creating Catholic religious art.

Talleres de Arte (Workshops of Art)

In 1891, at only 23 years old, Granda opened his workshop, Talleres de Arte, in Madrid. The Archbishop of Madrid, Jose Maria Cos y Macho, supported Granda's idea. He wrote that the art from Granda's workshops would be famous in many countries because of its deep Christian meaning, new designs, and careful work. He encouraged Granda to continue combining his priestly duties with his artistic talent.

The first workshop was on Calle Fernando el Santo, but it soon moved to a larger building called Hotel de las Rosas. This new place had more space for the growing number of artists. Granda described it as a healthy environment with studios, workshops, and living areas full of air and light, surrounded by gardens.

Félix Granda lived there with his sister Candida, who helped him manage the workshop. By 1900, more than 200 skilled artists worked at Talleres de Arte. They created many types of religious art, including:

• Altarpieces (decorated screens behind altars)
• Statuary (statues)
• Tabernacles (boxes to hold sacred items)
• Reliquaries (containers for holy relics)
• Monstrances (vessels to display the Eucharist)
• Sacred vessels (cups and containers for religious services)
• Other works of sacred art

Granda had learned from many artists in his youth, and this helped him bring so many talented people together. He wanted to gather all the artistic skills needed for church decoration in one place, including painting, sculpture, metalwork, enamelwork, carpentry, and even embroidery for religious clothes.

Before starting any new project, Granda would explain its meaning to all the artists involved. Each art studio had a master artist who guided the workers and trained new apprentices. After work, the artisans would have time for learning and classes. Many famous sculptors, like Jose Capuz Mamano, learned their skills at Talleres de Arte.

In 1911, Granda's workshop won a gold medal at Madrid's Exposition of Decorative Arts. That same year, they also published their first full catalog of their artworks.

Granda's Art Ideas

The main idea behind Granda's workshop came from a Bible verse: "I have loved, O Lord, the beauty of Thy house; and the place where Thy glory dwelleth" (Psalm 25.8). Granda also wanted to "employ all my strength to make beautiful Thy temples and Thine altars." These ideas became the motto of Talleres de Arte.

The workshop's symbol showed a man praying under an olive tree. The words on the symbol meant: "To improve and perfect the old by using the new" and "The branches were broken off, so that I might be grafted in." This showed Granda's goal to both honor old traditions and bring new ideas to religious art.

Granda believed that art should be full of Christian meaning and history. He wanted his art to be "alive" and connected to ancient traditions, but also useful for modern times. He studied old Christian art and the Bible to find inspiration.

Talleres de Arte created art in many styles, including:

• Mozarabic (early Spanish Christian art)
• Romanesque (medieval European style)
• Gothic (another medieval style with pointed arches)
• Baroque (ornate 17th-century style)
• Rococo (light and graceful 18th-century style)

Granda even worked with modern architects like Antoni Gaudí, who was famous for his unique designs. Both Gaudí and Granda liked to use natural shapes, like sea turtles, in their art. Granda also used ideas from scientific discoveries, like what could be seen through a microscope, to make his decorations richer and more varied.

A writer named Demetrio Zurbitu Recalde summarized Granda's art ideas into four main principles: dignity, religiosity, popularity, and symbolism.

Dignity in Art

In the late 1800s and early 1900s, the quality of religious art had gone down. Many artworks were mass-produced and lacked beauty or spiritual meaning. This style was sometimes called l'art Saint-Sulpice.

Félix Granda wanted to change this. He believed that religious art should always be made with the highest quality and craftsmanship. Even simple objects for churches without rich sponsors should still be beautiful and dignified. He preferred carving wood and stone directly, rather than using easy mass-production methods. His sculptures were noble and pure, without exaggerated poses.

Religiosity in Art

Granda's second principle was religiosity. He wanted to use art to teach about Christ, not to show off wealth. He found endless ideas in the Bible, church teachings, and traditions.

For example, he designed a special monstrance (a vessel to display the Eucharist). Around its base, he placed figures of the "Four and Twenty Elders" from the Bible, showing different levels of spiritual devotion. Around the main part, he sculpted figures from the Old Testament who foreshadowed the Eucharist, like Abraham and Isaac (recalling sacrifice) and Melchizedek (offering bread and wine). He also included warriors guarding the monstrance, symbolizing Christians protecting the Blessed Sacrament from evil.

Another monstrance he designed had a base shaped like the "City of God" with twelve gates and angels. It stood on seven pillars, reminding people of the Bible verse: "Wisdom hath built herself a house, she hath hewn her out seven pillars."

Popularity in Art

Granda believed that religious art should be understood and enjoyed by everyone, not just a few art experts. He wanted his art to speak to ordinary people, including those who were simple or uneducated. He used familiar images like angels, demons, monsters, local plants and animals, and people doing everyday jobs. This made the art relatable and easy to understand for everyone.

Symbolism in Art

Bringing back symbolism to sacred art was a key idea for Granda. Archbishop Cos had encouraged him to restore the "sacred symbolism" that had been lost over time. Granda admired the rich symbolism in medieval art and wanted to revive it. He believed that every sacred object should have a deeper meaning, not just be a plain item.

Common symbols in his work included:

• Fountains with seven streams (representing the seven sacraments)
• The pious pelican (giving its blood for its young, symbolizing Christ's sacrifice)
• The thirsting deer (souls longing for God)
• Roses (representing the Holy Wounds of Christ)
• The dove (pure soul) and the wolf (evil soul)
• The olive tree (peace)
• The peacock (immortality)
• The asp and the basilisk (sin)
• The Tree of Life
• The Good Shepherd

Granda explained that the Bible, church hymns, and prayers offer countless ideas for symbols. He used lines, colors, precious stones, flowers, animals, and natural elements to express deep spiritual meanings. For example, he made a candlestick with a base showing three sleeping men on monsters. The monsters represented vice, and the candle symbolized Christ. The sleepers were a reminder to wake up and let Christ enlighten them.

Important Artworks

Under Félix Granda's leadership, Talleres de Arte created many important artworks for churches and cathedrals across Spain and beyond.

They designed and built detailed monstrances for the cathedrals in Leon, Lugo, Madrid, Oviedo, and Burgos. An altarpiece made for the bishop's palace in Madrid is now a main feature in the city's new cathedral.

In 1928, the workshop created the crown for Our Lady of Guadalupe in Caceres. The special crowning ceremony was attended by the King of Spain and many important church leaders. Other major works included the main altar in the Cistercian Abbey of San Isidro de Dueñas, an altar in the Basilica del Pilar in Zaragoza, and murals in the seminary chapel in Madrid.

Church of St. Thomas — Avilés, Spain

In 1903, Félix Granda designed the inside decorations for the new Church of St. Thomas of Canterbury in Avilés, Spain.

The main altar has a table supported by three bronze figures with wings. They hold shields showing the virtues of faith, hope, and charity. Between them are marble carvings of Abraham's sacrifice and Melchizedek, explaining that the Mass is both a sacrifice and a sacrament.

The tabernacle is held by two statues, Melchizedek and Aaron, representing different laws. The box they hold stands for the Church. On its door is the Lamb of God, with a dove (pure soul) and a wolf (evil soul) on either side. Figures of the four Evangelists stand at the corners. Other carvings show the Holy Trinity, the Last Supper, and the Wedding at Cana.

Side altars are dedicated to Our Lady of Mount Carmel, the Madre del Amor Hermoso, and St. Joseph. The pulpit (where sermons are given) has a griffin on top, symbolizing Christ's two natures (human and divine). Winged monsters representing sins are shown falling below it. The lower part of the pulpit is decorated with animals like a lion, dog, rooster, and ram, which stand for the important qualities of a good preacher: strength, loyalty, readiness, and courage.

Tomb of St. John of the Cross — Segovia, Spain

In 1926, a special chapel was built in Segovia to honor St. John of the Cross. Talleres de Arte created the altarpiece, statues, carvings, mosaics, and a beautiful coffin above the altar. This coffin holds the saint's torso and head.

Belen Jesuit Church — Havana, Cuba

The altarpiece for the Belen Church in Havana, Cuba, was built by Talleres de Arte in 1915. This Jesuit church is one of the few Gothic Revival buildings in Cuba, meaning it looks like old Gothic churches. The altarpiece also has Gothic features like tall spires and detailed carvings. The main statue is a large one of the Sacred Heart. Figures of important people from the Bible carry the Ark of the Covenant, and above them, angels lift up the triumphant Christ Child. Statues of Jesuit saints are placed in the side sections.

Virgin of Covadonga — Covadonga, Spain

In 1928, the special three-part throne and crown for the Virgin of Covadonga were made at Talleres de Arte. A writer named Demetrio Zurbitu described it as having the "fantastic richness of an oriental tale."

When the doors of the throne open, it's like a big book for the people of Asturias and Spain. Everything in it is easy for them to understand. They recognize the figures of patriarchs, prophets, and kings who show the Virgin Mary's family line. They also know the two larger figures, St. Matthew and St. Eulalia, who are the patrons of the church in Asturias. The animals in the decorations symbolize the local wildlife. Most importantly, there are four carvings showing Asturian life: farming, metalworking, fishing, and mining. These show people offering their daily work at the feet of their Queen.

On the base of the statue's throne, the story of Pelayo, a hero who founded the Kingdom of Asturias, is carved. The throne itself expresses a deep idea about the Virgin Mary. It shows the days of creation, with worlds forming from chaos, light appearing, waters separating, plants growing, and animals filling the earth. The Virgin Mary sits above all this, showing that she is greater than all creation, and the world itself is her throne. This idea comes from a Bible verse that says Mary was chosen "before the earth was made."

Sanctuary of la Gran Promesa — Valladolid, Spain

A 17th-century church in Valladolid, Spain, was renamed the National Sanctuary of la Gran Promesa in 1941. This was to honor a special Spanish devotion to the Sacred Heart of Jesus.

Over the next ten years, Talleres de Arte created all the new interior artwork for the Sanctuary. They replaced altarpieces and shrines that had been destroyed by fire. The main altarpiece includes a large sculpture of the Sacred Heart and carvings of John the Apostle, Mary, the Last Supper, and the Doubt of Thomas. Félix Granda also designed side altars, carvings, a processional float, the Pulpit, the Stations of the Cross, the tabernacle, the rood (a large cross), and the monstrance.

See also

In Spanish: Félix Granda para niños