"19th Cent. Reverse Glass Ex-voto Painting Of San Ramón, Folk Art. Spain"
This exquisite 19th-century Spanish reverse glass painting is an example of an Ex-Voto, a devotional artwork created as an offering to a saint or deity, often in gratitude for a blessing or miracle. Ex-Votos were common in Catholic communities, especially in rural areas, where they were used as tokens of devotion and faith. This particular piece depicts San Ramón Nonato, a saint venerated in Spain for his role as a protector of pregnant women and those in childbirth.San Ramón is shown here kneeling in prayer before the Infant Jesus, who appears surrounded by clouds, offering a gesture of blessing. San Ramón, recognizable by his characteristic monk’s robes and saintly halo, was a member of the Mercedarian Order. He became known as "Nonato" (meaning "not born") because he was delivered by cesarean section after his mother passed away during childbirth. His life was dedicated to rescuing Christian captives from Moorish prisons, and his later martyrdom earned him a special place in the hearts of many Spanish Catholics.
The reverse glass painting technique, popular in Spain and other parts of Europe in the 19th century, involved painting directly onto the back of a sheet of glass. This allowed the image to be viewed through the glass itself, giving it a brilliant and polished appearance. The bold, colorful imagery in this piece would have served as a focus of prayer, likely placed in a church, home, or sanctuary. Ex-Votos like this were often commissioned by individuals or families to express thanks for the saint’s intercession, especially in matters of health, childbirth, or personal safety.
This painting stands as both a religious and cultural artifact, reflecting the rich history of Spanish folk art and Catholic devotion. Its rustic style and simplistic yet moving iconography make it a significant piece for collectors of religious art or those with a particular interest in Spanish Christian traditions.
Measurements
45x35 cm.
Condition
The painting remains in fair condition considering its age. The reverse glass shows a significant crack in the upper left corner, though the image itself retains much of its original vibrancy and detail. The wooden frame, while showing signs of wear typical for its age, is intact and stable. The overall condition suggests it was well-preserved despite its age, though a professional restoration could improve both the glass and frame for display. This piece remains a powerful example of 19th-century Spanish religious artistry and devotion.
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