Jose Joya “House of Life” 1960 on Canvas Size: 32″ x 32″
₱58,000.00
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.
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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.
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.
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.
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.
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