Retablo

A retablo (or lamina) is painting typically done on a wood carving. This is a different meaning from the original one in Spanish, which still applies in Spain, and is equivalent to retable in English. The Latin etymology of this Spanish word means "board behind" [http://buscon.rae.es/draeI/SrvltGUIBusUsual?LEMA=retablo&TIPO_HTML=2&FORMATO=ampliado Diccionario de la Real Academia Española] ] . Used to honor different saints of the Catholic Church, the retablo grew in popularity as the indigenous people of South America were converted by Catholic missionaries. Retablos are designated as “portable, flat, two-dimensional, painted wood or relief panel” designs (Lange 55).

Historical usage

Aside from being found behind the altar, “similar ornamental structures are built and carved over facades and doorways” (Fernandez 23). The oil painted retablos generated the need for “small retablo factories” to be established in order to “reproduce the same images” which were then “sold to devout believers who displayed them in home altars to honor their patron Saints.” [ [http://www.mexicanretablos.com/mexican_retablos_history.php Retablo history] ] Not only were the retablos purchased by those wanting to show devotion to their patron saints, they were also given when the saints were there for their devotees in hard times. When one wanted to express gratitude, they could give retablos that described “the miraculous deed of a saint to whom the petitioner turned to in a time of need” (Correa 113). All of the numerous saints depicted on the retablos were thought to each remedy an array of problems faced on a daily basis. People often called upon these saints to bless them for events such as harvests or feasts.

Lithography and Retablos

As time marched on, the process of lithography became very important to the preservation of these religious artifacts. At the dawn of the 16th Century, moveable-type printing had just been introduced shortly before Christopher Columbus had set out for his journey to the new world. Catholic missionaries who accompanied the explorers on these journeys often carried with them religious mementos to provide them with safety and protection. Through the use of lithography, retablos were easily reproduced. Soon, even the indigenous people were utilizing lithography to preserve and archive the retablos. Through the use of lithography, the people of Latin America were able to replicate many religious figures and incorporate these figures into use in their everyday lives.

Latin American retablos

In Latin America, the retablos are used as devotional images and most are multi-paneled creations. Likewise, many churches now use the retablo as an aesthetic and a nod to the rich Catholic tradition in Latin America.

Retablos are multi-colored and spiritual forms of folklore that recall different situations in which a particular saint or religious figure is remembered. For example, if a framer needs rain for his crops he might pray for rain. After the rain comes, a retablo might be created to give thanks to San Ysidro Labrador, the patron saint of farmers. He is "venerated for good weather, agricultural issues and prosperous crops" (Eddy, 1). That figure would most likely be kept in the farmer's house. Each time rain was needed in the future, that farmer might pray in front of that retablo (Eddy, 1).

Origins

The original meaning of retablos referred to sculptures or paintings that were placed behind altars of Catholic churches. Labeling ex-votos as retablos can be traced back to the early 18th century from a man named Robert Montenegro. He published a collection of votive paintings that was dated 1781. He was thanking Nuestra Señora de Dolores de Xaltocan for renewing the people’s health after a severe illness. On the bottom of the retablo left, he inscribed a message that read "en cuia memoria dedica a su Magestad este Retablo" (in whose memory he dedicates to her Majesty this retablo) (Durand, 5).

Form

Retablos are votive paintings on rectangular sheets of tin that illustrate holy images such as Christ, the Virgin Mother, or one of the hundreds of saints. Ex-votos, which means "from a vow," are also votive paintings on tin. However, they are different from retablos in that they artistically tell stories. These stories recall dangerous or threatening events that actually occurred. Both retablos and ex-votos are devotional paintings that can be left behind at shrines or kept at home. One can conclude that retablos and ex-votos are indications of a votive painting on some sort of sheet of tin (Durand, 9).

An ex-voto requires certain elements in order to be considered part of the votive tradition. They are made as a way of thanking the gods for protection in precarious situations. These situations could be returning a lost family pet or overcoming an illness. It is a physical way of thanking them for a miracle or an act of kindness. Ex-votos must display humans physically doing something. They must include divine images, like saints or spirits. They must also have an explanation of events that occurred. The explanation must include the date and location that the event occurred (Eddy, 1).

The way a retablo and ex-voto look are entirely up to the person designing it, so long as it contains the necessary basic elements. The most important part of the retablo is the representation of the miraculous event. That is why most artists try to use bright, vibrant colors to portray the supremacy of the event. An ex-voto is, more often than not, reduced to a smaller size. It’s usually about half the size of the original, while still maintaining its rectangular shape. The largest size was about 280 square inches. The smallest was about 18 square inches. Some of the most common sizes include 140 square inches and 70 square inches (Durand, 9).

Significance

Retablos are important to Mexican folk religion because they are a physical representation of holy images such as Christ, the Virgin Mother, or one of the many saints. Creating retablos or ex-votos is a way of showing appreciation to the gods for bringing rain or helping certain crops grow. They come from the need humans have to interact on a personal level with divine spirits. Retablos are evidentiary support for communication between the gods and humans (Wroth, 2).

Notes

reflistThis tradition of retablos was also brought into New Mexico and southern Colorado by the Franciscan monks. Due to the remoteness of this frontier and lack of metals, retablos were made of wood. These crude retablos were coated with a gesso made with gypsum and rabbit skin glue. Pigments also were made locally from natural materials, colored earths, plant extracts, cochineal bugs, and lamp black.

These traditional retablos and other indigenous religious art were removed by Bishop Lamy throughout New Mexico after the conquest of these territories by the US Army. In 1924 the Spanish Colonial Arts Society was formed, and since then these unique traditions of New Mexico have been preserved. They also have promoted a huge revival of this art form. Today great Spanish Colonial Art is made in this tradition and sold at the Spanish Market in Santa Fe each summer. http://www.spanishcolonial.org/

References

* Correa, Phyllis M. Otomi Rituals and Celebrations: Crosses, Ancestors, and Resurrection. "The Journal of American Folklore" 113 (2000): 436–450.

* Durand, Jorge and Massey, Douglas S. (1995). "Miracles on the Border: Retablos of Mexican Migrants to the United States". Tucson; London: The University of Arizona Press.

* Eddy, James. [http://www.mexicanretablos.com/mexican_retablos_history.php Mexican Retablos 19th Century Devotional Art] . San Francisco, California.

* Fernandez, Justino. An Aesthetic of Mexican Art: Ancient and Modern. "The Journal of Aesthetics and Art Criticism" 23 (1964): 21–28.

* Lange, Yvonne. Lithography, an Agent of Technological Change in Religious Folk Art: A Thesis. "Western Folklore" 33 (1974): 51–64.

* Wroth, William. (Jul–Sep 1984). Christian Images in Hispanic New Mexico. "The Journal of American Folklore" 97 (385): 361–363.