Ang kiukok “Figures on Fire” 1982 on Canvas Size: 26″ x 30″
₱48,000.00
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Mauro “Malang” Santos began his artistic journey as a newspaper cartoonist and illustrator in 1947. It was during 1967 when he dedicated his time to become a full-time painter. The classic themes in Malang’s paintings consisted of mother and child, woman vendors, barong-barong or shanties, and cityscapes all composed from his distinct style of geometric forms arranged into well-ordered, overlapping planes covered with a symphony of colors. Towards the late 1960s and early 1970s, his works became more stylized, simpler and less crowded but its sense of scale and proportion became bolder which is evident in his work in the CCP 21am Collection titled Landscape (1980).
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.
In Jose Joya’s gestural works from the1960s, paint was applied intuitively and spontaneously. The rough surface textures were achieved by using broad brush strokes using brushes or spatulas or directly applied from the tube onto the canvas. The impasto finish mixed with sand over layers of primer, creates a sensual experience. Joya masters a delicate balance between control and spontaneity, translating into a visual language that holds unique to his body of work.
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.
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