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Lot Essay
This ensemble of Fernando Cueto Amorsolo's works from the 1950s typify the artist's favourite themes which he enjoyed to revisit and perfect throughout his entire career. In these pieces we see his masterful ability to depict the effects of tropical light and shade upon a range of different subjects, emitting a particular warmth from the canvas that can only be the work of the "Grand Old Man of Philippine Art" himself. This group of works exemplify the integral elements that made up Amorsolo's ideal of Filipino culture.
The present owners brought these works with them from the City of Zamboanga to settle in Zurich, Switzerland, in 1954. They met Amorsolo in the 1940s, and continued to remain in contact with the artist long after they immigrated. Fittingly enough, the artworks are now returned to be presented in Asia.
Amorsolo believed it was his duty to represent the Philippines truthfully in all its strengths and weaknesses, and there was a strong sense of nationalism embedded in his approach. He thought it was historically important to capture both the significant events and scenes of everyday life occurring across the country. In his rural scenes, we see the local Filipinos at one with nature: they are hardworking and value their family and community relations. The environments are prolific and plentiful; signifying his appreciation of the country's temperament and natural beauty. This is perhaps also due to a growing sense of nostalgia surrounding this way of life, amid the American occupation and their urban reform programmes.
The scenes and people that appeared in his paintings reflected Amorsolo's own life and experiences. Although some of his works were produced in the studio, they were always based on specific sources rather than generic ideas. Amorsolo's training began at a young age where he was an apprentice to his uncle Fabian de la Rosa, a leading painter of the Spanish-school based in Manila. He later undertook a period of study in Madrid in 1919, where he spent a great deal of time in the Prado Museum, studying the works of the great Spanish masters.
By the Padi Field (Lot 529) and Washing by the Stream (Lot 530) demonstrate why Amorsolo is renowned for vibrantly coloured romantic genre scenes, as well as for his mature handling of light and composition. In By the Padi Field , our view is directed to the workers" dedication to their job and also the interaction occurring between them. This shows the happiness achieved from both their modest lifestyle and from maintaining the sense of community. More still, the figures are harmonious with nature in this scene: a symbiotic relationship is evident as we see man aptly provided for by his environment. The four elements of the earth are included by Amorsolo in this work, with the abundance and the lusciousness of the greenery particularly emphasised in both the paintings. In Washing by the Stream, the blissful quietude of the scene is conveyed through the water's glistening reflection of its surroundings, and by the lightinducing composition.
Nude (Lot 531) presents itself as an allegorical and romantic celebration of Amorsolo's ideal of the female form: a Filipino woman with a delicate and rounded frame. Yet, this particular model is presented with connotations of innocence, modesty and girlhood. Her face and body are turned away from the viewer due to her fascination with a pink rose. She is encompassed by a swirling array of pink, purple and orange paints which make up a warm and subdued background, to match her gentle and inquisitive mood being displayed here.
Sailing Boat (Lot 532) captures the famous Manila sunset in all its glory, one of Amorsolo's particularly favourite subjects to paint. Here, he portrays the strength of the wind and its grand effect on the water, the sky and the sail boat. Amorsolo perfectly portrays the diffusion of the soft, lucid light across the scene and once again, man is seen in unison with nature. It is because of such works, ones which demonstrate his signature approach to the realist technique, that Amorsolo was awarded the title of first ever National Artist of the Philippines.
The present owners brought these works with them from the City of Zamboanga to settle in Zurich, Switzerland, in 1954. They met Amorsolo in the 1940s, and continued to remain in contact with the artist long after they immigrated. Fittingly enough, the artworks are now returned to be presented in Asia.
Amorsolo believed it was his duty to represent the Philippines truthfully in all its strengths and weaknesses, and there was a strong sense of nationalism embedded in his approach. He thought it was historically important to capture both the significant events and scenes of everyday life occurring across the country. In his rural scenes, we see the local Filipinos at one with nature: they are hardworking and value their family and community relations. The environments are prolific and plentiful; signifying his appreciation of the country's temperament and natural beauty. This is perhaps also due to a growing sense of nostalgia surrounding this way of life, amid the American occupation and their urban reform programmes.
The scenes and people that appeared in his paintings reflected Amorsolo's own life and experiences. Although some of his works were produced in the studio, they were always based on specific sources rather than generic ideas. Amorsolo's training began at a young age where he was an apprentice to his uncle Fabian de la Rosa, a leading painter of the Spanish-school based in Manila. He later undertook a period of study in Madrid in 1919, where he spent a great deal of time in the Prado Museum, studying the works of the great Spanish masters.
By the Padi Field (Lot 529) and Washing by the Stream (Lot 530) demonstrate why Amorsolo is renowned for vibrantly coloured romantic genre scenes, as well as for his mature handling of light and composition. In By the Padi Field , our view is directed to the workers" dedication to their job and also the interaction occurring between them. This shows the happiness achieved from both their modest lifestyle and from maintaining the sense of community. More still, the figures are harmonious with nature in this scene: a symbiotic relationship is evident as we see man aptly provided for by his environment. The four elements of the earth are included by Amorsolo in this work, with the abundance and the lusciousness of the greenery particularly emphasised in both the paintings. In Washing by the Stream, the blissful quietude of the scene is conveyed through the water's glistening reflection of its surroundings, and by the lightinducing composition.
Nude (Lot 531) presents itself as an allegorical and romantic celebration of Amorsolo's ideal of the female form: a Filipino woman with a delicate and rounded frame. Yet, this particular model is presented with connotations of innocence, modesty and girlhood. Her face and body are turned away from the viewer due to her fascination with a pink rose. She is encompassed by a swirling array of pink, purple and orange paints which make up a warm and subdued background, to match her gentle and inquisitive mood being displayed here.
Sailing Boat (Lot 532) captures the famous Manila sunset in all its glory, one of Amorsolo's particularly favourite subjects to paint. Here, he portrays the strength of the wind and its grand effect on the water, the sky and the sail boat. Amorsolo perfectly portrays the diffusion of the soft, lucid light across the scene and once again, man is seen in unison with nature. It is because of such works, ones which demonstrate his signature approach to the realist technique, that Amorsolo was awarded the title of first ever National Artist of the Philippines.