Retablo 1938

Editor: So, here we have Eldora Lorenzini's "Retablo" from 1938. It looks like a painting, possibly watercolor, depicting what seems to be Saint Joseph holding the infant Jesus. It's really charming, in a folksy way. I’m struck by the wooden elements around the central image. What do you see in this piece, especially given the title “Retablo?” Curator: This image brings up fascinating questions about the labor of art-making and the consumption of religious imagery. A retablo traditionally would have been an offering or a devotional object made on a humble scale, often by untrained artisans, from readily available materials. This work seems to *represent* that tradition, but done in watercolor which introduces the idea of reproduction versus original, craft versus art. How does this change your understanding of its message or purpose? Editor: That’s an interesting point! So it's not actually functioning as a retablo but reflecting on one. I hadn’t considered that. It does feel like a representation *of* folk art, created maybe for a different market entirely, divorced from the original religious context and labor. Curator: Exactly! Think about the act of creation, the accessibility of watercolor as a medium versus traditional gesso panels, and the intended audience. Is it a genuine expression of faith, or a commentary on it for consumption by a different class? Editor: I see! So by examining the materials and process, you are directing us to the social and economic context surrounding the artwork's creation, questioning authenticity and function, rather than focusing solely on its religious symbolism or artistic merit in a conventional sense. It's all about how and why it was made. Curator: Precisely. It's a reminder to consider art as a product of specific labor, materials, and economic forces, not just individual genius or aesthetic inspiration. Editor: This definitely gives me a new way to approach art. I need to consider its material conditions!