Still under construction, the church of San Nicolas. The works that restored all the splendor to the Albaicin building in its emblematic glory in 1932, and which was severely damaged by a fire in 2006, had to be shut down in 2006. Since then, elements of worship have been slowly incorporated into the chapels and white walls. The last? The beautiful altarpiece measures approximately twelve square meters. It was created by eight prestigious brushes from the province. It is easy to find, once you enter San Nicolas. You’ll be pleasantly surprised by the details you discover. You will be surprised at the details.
This project was conceived prior to the pandemic, and coordinated by the Department of Restoration of the Archdiocese of Granada. You should also know that this is an emulation, not a copy, of the 16th-century altarpiece that is found in San Jose’s church in Flemish. It was dated 1506 and attributed Petrus Christus II, master of Gilda de Bruges painters, and placed in Granada to plan and decorate the Cathedral’s altars.
Lola Blanca, the restorer, explains that “because it is in an Asset of Cultural Interest temple, it was impossible to move this piece, so they started considering making a new one.” He adds that it was not practical to duplicate the original when it was only three hundred metres away. Each author was allowed to add their own artistic visions to each scene. <>.
white lola
Coordinator of the altarpiece Project
The work is made of cedar wood and has been finished in matte. It features thin pillars which divide it into three small encasings each with their carved canopies. The main one is located in the lower portion. It contains a statue of Saint Sebastian. An anonymous polychrome carving in small scale, from the 15th or early 16th centuries, that is similar to the one in San Jose. It was inventoried, and then stored.
Lourdes and Lola Blanca, project coordinators (1) / RAMON L. PEREZ
From left to right, and from top to bottom, the iconography is as follows. Eusebio Sanblanco presents an innovative view of the ‘Martyrdom Saint Bartholomew’. The intricate intertwining fine brushstrokes create a beautiful color scheme in which light and drawing dominate. <>.
Juan Carlos Conde is a graduate of Fine Arts at the University of Granada and presents a contemporary interpretation of the Preaching of Saint Bartholomew’ with strong color contrasts. Lola Blanca explains that the female faces of the main characters have been transformed to symbolize Juan Carlos’ family.
Jesus Conde, to whom must be attributed the amazing vault of San Nicolas, imitates the “Birth of Virgin” with the incorporation of his personal shield with some armor scarps at its foot. Lola Blanca says that the loose brushstrokes are evident in the clothing of Jesus’ characters.
A few months ago, the restoration of the church was complete. / RAMON L. PEREZ
Lola Blanca recreates the Asuncion’. The light darks show more softness. Sierra Nevada’s vision represents the incorporation of the creator. The house is known for its delicate handling of high-period objects as well as the cleanliness of the work. PacoCarrillo delights next with a stunning copy of “Visitacion” that includes the trail of an aircraft as a nod towards the present. Lola Blanca says that Francisco is driven by the same desire and intention as he has for his landscapes.
The upper section contains Miguel Angel Maderas and Jose Antonio Garcia. The first made the ‘Flagellation’ where compositions that combine warm and cold colors are prominent. The second made the Calvario, which features a mobile and greyhound, as well as the tower of Guadix Cathedral. The third glosses on the ‘Descent, where the elegance and simplicity of its colors stand out in a carefully classic atmosphere.
