Jose Joya Dimension of Fear on Canvas Size: 72″ x 24.2′
₱110,000.00
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.
Only logged in customers who have purchased this product may leave a review.
Related Products
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 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.
The naked torsos of a man and woman are painted in abstract, geometric forms blending into the space of Cesar Legaspi’s Man and Woman (1975). As Legaspi moved closer to abstraction, the objective reality of his subject remained as a persistent undercurrent in his abstract images. The figures are launched into rhythm and movement moving away from the stasis.
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).
Reviews
There are no reviews yet