Ang kiukok “Red Table” 1970 on Canvas Size: 30″ x 34″
₱58,000.00
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.
Only logged in customers who have purchased this product may leave a review.
Related Products
In Mother and Child (1966), Vicente Manansala highlights the soft, feminine curve of the mother’s neck and shoulders. The mother is portrayed as gazing down towards her child, displaying the protective instinct a mother has for her baby. Only traces of the child are seen, such as his tiny foot and a glimpse of his forehead. By drawing away from merely representing a face for these subjects, Manansala explores the more fundamental characteristics of this distinct relationship such as tenderness, protectiveness, and nurture.
The Cubist aspect of Manansala’s work rests largely on the geometric facetting of forms and in the shifting and overlapping of planes. Yet his facets and planes are broader than in original Cubism as they bring out larger rhythms.
The Genesis (1968) by Hernando “H.R.” Ocampo is a tapestry at Tanghalang Nicanor Aberlardo, the main theater of the Cultural Center of the Philippines. Supersized from an original oil-on-canvas painting, it was produced by Bizenya Weaving Co. in Kyoto, Japan. Since its installation, the tapestry has symbolized not only the institution but of the aspirations of the Filipino creative spirit. It emanates a blazing and enduring flame where the biomorphic forms of red tones modulate into yellows at the center, empowering the passionate spirit of any viewer who comes to the CCP to watch a performance.
The Diaphanous series by Romulo Olazo is considered as one of his most notable works. The paintings are done through the process of overlapping layers of paint scraped on canvas developed from a collagraph technique in printmaking. The series seeks to explore the behavior of light in its purest state, each curvilinear shape possessing its unique sensuous experience. While Untitled (1974) is not distinctively part of the Diaphanous series, this artwork displays Olazo’s foray into deeper colors like purple and how it would behave with different tonal qualities.
Reviews
There are no reviews yet