Ang kiukok “Figures on Fire” 1982 on Canvas Size: 26″ x 30″
₱48,000.00
Only logged in customers who have purchased this product may leave a review.
Related Products
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.
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.
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.
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.
Reviews
There are no reviews yet