Juvenal Sanso “Icaro y los Papalotes” 1970 on Giclee Size: 30″ x 20.5″
₱45,000.00
Spanish-born painter Juvenal Sansò grew up and studied in Manila. His surreal landscapes transport the viewer to a strange, desolate place that feels familiar but not quite–like hazy memories from another life. Icaro y los Papalotes (1970) translates to “Icarus and the Kites.” The rubble stones on the foreground of the painting is stylistically similar to Sansò’s more popular works such as the “Brittany” and “Barong-barong” series. A small form of a man on the upper right of the painting, suggesting the mythological figure, Icarus, flying above a desolate landscape. It symbolizes the insistence of hope and resilience of man against natural forces.
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Ang Kiukok’s proclivity to portray his usual subjects in various compositions and themes is present in the still life, Red Table (1970). The lines in his paintings emphasize geometric forms that overlap with each other that fill up the canvas space and limit the perspective. The colors are rudimentary, and in this painting, it is limited to red, orange, white, and black. The effect reinforces the linear framework. This transforms the table into a distorted and fragmented image, reflecting Kiukok’s worldview full of angst and inner turmoil.
Vicente Manansala was an excellent draftsman. His technical proficiency in drawing enabled him to experiment and perfect his style of Cubism even as he worked with his recurring motifs of a mother and child, families, still-life, vendors, workers, and beggars, landscapes, and religious themes. Manansala seemingly formed a mystical bond with the natural world that despite the fragmentation and distortion of reality that would come out of his works, the imagery and visual motifs of his work remained grounded with objectivity.
In 1957, after returning from his graduate studies at the Cranbook Academy of Art in Michigan, Jose Joya audaciously took on new frontiers in abstract painting for Philippine art. Having been immersed in the principles and techniques such action painting and field painting of the American school of abstract expressionism, Joya experimented with gestural painting where he used it as a medium to record his imagination and own perception of reality. Dimensions of Fear (1965) is also a byproduct of the psychological and environmental complications of its time. Joya projected his search for a national identity with a freedom to explore new forms away from the constraints of tradition, such feelings that were amplified by the explosion of red and black on the canvas.
The thematic expressions present in Ang Kiukok’s works often revolve around representations of still life, dog fights, crucifixions, his junkscape series, human figures in anguish, and seated figures. While the other themes highlight brute instinct and intense expressions, Kiukok’s still life paintings show a lighter side to his body of work. The vibrant colors in complementing schemes and contorted shapes of Lamesa (1979) draw us into an interior perspective that recedes into the pictorial plane.
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