Cesar Legaspi “Games of Three” 1972 on Canvas Size: 45″ x 28.5″
₱70,000.00
Part of Cesar Legaspi’s personal iconography can be characterized by the dynamic and complex compositions his subjects are painted in. Figures are pressed close into the space that breathes life into the work. The artist’s focus on texture and use of warm colors uses a meticulous technique of dabbing paint on the canvas with a palette knife, a method he had mastered in the early 70s.
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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 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.
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.
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