Sombrero Retablo
The Spanish word "retablo" refers broadly to devotional paintings placed behind the altar in a Catholic church, including grand, gilded altarpieces. More commonly, however, the term refers to a type of Latin American (especially Mexican) folk art, in which small scenes are painted on scraps of tin or wood by amateur artists. These are a kind of ex-voto ("from a vow"), meaning that they acknowledge a promise made to a supernatural power—usually God, Jesus, Mary, or any number of saints— in return for their help.
Most retablos depict a personal drama in which a holy figure has intervened, such the recovery of a loved one from sickness. Others depict more dramatic events, like a knife fight, or a bus hanging off the side of a cliff. Many of these are "fakes," reproduced for the tourist trade, but they are still fun. Some retablos are left at the altar in church, or at shrines. Others are kept for use in home altars. These include depictions of one's name-saint, or of a relevant patron saint, perhaps the patron saint of farmers, or fishermen, or truck drivers.
This retablo, dated January, 1960, seems failry typical. There is a supplicant (Macario Rosas?), a problem (sick child in bed), and an interceding power (Jesus, on the cross). The supplicant seems to be making an offering of burnt incense (?). His sombrero also seems somehow critical to the mix. The phrase "Milagro concenido" ("Miracle agreed upon") can be read, but other words that might provide clarity are obscured by rust. 9.75" X 7.5"
The Spanish word "retablo" refers broadly to devotional paintings placed behind the altar in a Catholic church, including grand, gilded altarpieces. More commonly, however, the term refers to a type of Latin American (especially Mexican) folk art, in which small scenes are painted on scraps of tin or wood by amateur artists. These are a kind of ex-voto ("from a vow"), meaning that they acknowledge a promise made to a supernatural power—usually God, Jesus, Mary, or any number of saints— in return for their help.
Most retablos depict a personal drama in which a holy figure has intervened, such the recovery of a loved one from sickness. Others depict more dramatic events, like a knife fight, or a bus hanging off the side of a cliff. Many of these are "fakes," reproduced for the tourist trade, but they are still fun. Some retablos are left at the altar in church, or at shrines. Others are kept for use in home altars. These include depictions of one's name-saint, or of a relevant patron saint, perhaps the patron saint of farmers, or fishermen, or truck drivers.
This retablo, dated January, 1960, seems failry typical. There is a supplicant (Macario Rosas?), a problem (sick child in bed), and an interceding power (Jesus, on the cross). The supplicant seems to be making an offering of burnt incense (?). His sombrero also seems somehow critical to the mix. The phrase "Milagro concenido" ("Miracle agreed upon") can be read, but other words that might provide clarity are obscured by rust. 9.75" X 7.5"
The Spanish word "retablo" refers broadly to devotional paintings placed behind the altar in a Catholic church, including grand, gilded altarpieces. More commonly, however, the term refers to a type of Latin American (especially Mexican) folk art, in which small scenes are painted on scraps of tin or wood by amateur artists. These are a kind of ex-voto ("from a vow"), meaning that they acknowledge a promise made to a supernatural power—usually God, Jesus, Mary, or any number of saints— in return for their help.
Most retablos depict a personal drama in which a holy figure has intervened, such the recovery of a loved one from sickness. Others depict more dramatic events, like a knife fight, or a bus hanging off the side of a cliff. Many of these are "fakes," reproduced for the tourist trade, but they are still fun. Some retablos are left at the altar in church, or at shrines. Others are kept for use in home altars. These include depictions of one's name-saint, or of a relevant patron saint, perhaps the patron saint of farmers, or fishermen, or truck drivers.
This retablo, dated January, 1960, seems failry typical. There is a supplicant (Macario Rosas?), a problem (sick child in bed), and an interceding power (Jesus, on the cross). The supplicant seems to be making an offering of burnt incense (?). His sombrero also seems somehow critical to the mix. The phrase "Milagro concenido" ("Miracle agreed upon") can be read, but other words that might provide clarity are obscured by rust. 9.75" X 7.5"