Monday, April 23, 2012

Mardonio Cempron

was born in Jetafe, Bohol, 1941. (Watercolor landscapes) Architecture, Cebu Institute of Technology 1966 under Martino Abellana. Five solos: at Hidalgo, Hyatt Regency, Rustan’s, Gallery Genesis, and his latest. Cebu City, 1998. Has been practicing in the field of architecture from 1966 to 1983, when he went fulltime into painting. [100 Years; 100 Artist- LC]*** A maternal uncle as a hobby, and served as early influence. In 1974, painted with the art group Dimasalang, joining their painting excursions to provincial spots together with Romulo Galicano, SYM, Ibarra de la Rosa, Vic Laroza, and E. Aguilar Cruz. First solo, Hidalgo, 1983. Had a town-man show with Roger Gutierrez, Makati Commercial Complex, 1981. One of the winners in the 1996 Kulay sa Tubig competition. [20th CENT ol III-MD].


HARDIN
Oil on Canvas
18" x

24"
1997
HAC Code: 66659

Melencio Sapnu Jr.


was born in Orani, Bataan 1959. (Garden Impressions) Art studies at FEATI University as a university scholar, 1980-81 under Ibarra de la Rosa and Rod Dayao. His father Melencio Sr, studied drafting at Honorio Ventura’s trade school in Bacolor, Pampanga and opened a billboard and cinema shop. In high school, helped father at the shop, being the eldest son. Two other siblings are active painters: Ver Reyes and Louie Tolentino, both using surnames from their mother’s side of the family. Discovered by book author Manny Dululao at the Greenhills Art Center in 1980, where he would exhibit together with other GAC discoveries Carlo Magno, Bobby Angels, Arturo Cruz, Gene de Loyola, Jose Valino, and Rolando Angeles. First one-man show, Galleria Aurora, 1986. Has had two-man shows with Lino Acasio. A total a six solos, his 3rd and 4th solos at the Lopez Museum. Member, Mequeni Group and Group Seis, He is good at painting gardens, old churches and houses with focal of a bright of sunlight or dappled shadows of leaves on walls. Put up a studio in Marikina in 1991,When not painting, is busy in a mahogany farm in Mariveles, Bataan. [Family-JS]


WINDOW
Oil on Canvas
24" x

30"
2001
HAC Code: 73295

Tuesday, February 28, 2012

Ferdel Gonzales

Born 1961, (Old Manila Impressions) Got his name from the first three letter of his father Federico, and his mother Delia, who owned and tun the Angeles Gallery and Frames in Angeles City. Has three younger brothers who are artist; modernist Wally, Federico Jr. and Froilan. Grandfather Felix Gonzales was the owner of Art Phil, a Mabini gallery that existed since the 1950’s. Ric Gonzales, the portrait artist, is an uncle. Most of the family including aunts, cousins, nephews and nieces, are painters. Specialized in impressionist renditions of Old manila done in palette style which he picked up from Cesar Buenaventura, his Godfather, under this father Federico apprenticed. Member, Kapisanan ng mga Alagad ng Sining, exhibiting with them twice at the Angeles art Gallery, 1983; and Quezon Province Museum in Candelaria, 1987. [BIOS-JS]
ASOTEA
Oil on Canvas
24" x 36"
ND
HAC Code: 79564

Friday, February 17, 2012

Adler Llagas

was born in Baras, Rizal, liked to paint the vast mountain range of the Sierra Madre, even if it were in postcard-size watercolor. The mountains were what he knew the best. He liked to go off on his own as a boy, on solitary walks in “them thar hills” His first drawings were not of humans, but of those mountains. Figures were of no interest to him. These early miniatures already displayed a fine hand, excelling at extraordinary renditions of light and shadow. Adler’s exposure to art started in his second year at the Tanay National High, when he saw the art works of a classmate, Jojo Florendo, then an active member of the Tanay Artist’s Group. The Group was mentored by local restaurateur, Ka Ante Catalos, a fine arts graduate. Jojo became a first mentor. Jojo would introduced him to artist Brando Bati, who would bring him to Jun Tiongco. Adler would later meet Robert Syqui, another fine Rizal artist, who painted grandiose skies that dominate the canvas. Exposed to the best artist of Rizal, Adler’s sensibilities sharpened even more. By 1996, Adler was exhibiting his striking miniatures as guest artist with the Tanay Artist Group, under its then president, Jimmy Vista. Even when Adler went fulltime into painting, his works remained small in size, 2 x 3 or 5 x 7 inches. Up to the late ‘90s, he was doing watercolors, but after a year of apprenticeship under Brando Bati, he switched to acrylic. Merce and Panyong Atencia would carry his works in their gallery in Quezon City, and collector Chuckie Arrellano would by his works. Adler’s paintings are included in the coffee table book of the Arellano collections, Art Across the Philippines written by artbook author Manny Duldulao. Duldulao has been Adler’s guide and mentor. Manny has included him in “ Art Collector’s Guidebook, Vol. II. Adler has now switched to doing large artworks, such as 4 x 7 piece featured in the Duldulao book, of the 48 x 48 work exhibit at a 3-man show at the Philippine Heart Center in 2004. Adler’s first solo was in Caracas, Venezuela, organized by a collector who worked at the Department of Foreign Affairs. The Caracas show was a sell out. Adler has a studio in Morong, shared with old classmate Jojo Florendo of Tanay who paints still life and interiors, and Antonio Daleon of Morong, who does folk renditions and butterflies.
RIVERSCENE
Watercolor
14" x 22"
2003
HAC Code: 79552
PALAISDAAN
Water Color
14" x 21.5"
2003
HAC Code: 79554
FISHERMAN’S HUT
Water Color
14.5" x 22"
2003
HAC Code: 79553

Thursday, February 16, 2012

Antonio Doctor Garcia

was born in Manila 1937. (Pen & Ink genre) One sem, Architecture, TIP. Cartoonist Exchange correspondence course, Pleasantville, Ohio, 1952. Was model maker of architect Lindy Locsin from 1968-73. With Serafin Bonoan and architect Tony Webb, also did architectural models for Juan Nakpil, Gabriel Formoso, and Villarosa and Asso. Started serious painting in 1973 encouraged by Virginia Ty- Navarro, Carol Guerrero, and Mr Lane of Silahis Art Crafts. Has been doing realist genre of old houses and churches for the past 18 years in charcoal, oil, and watercolour. Forte: pen and ink renditions of town market scenes. First solo, Rear Room Gallery, 1977. Second solo, 1998, Holiday Inn, sponsored by Silahis Art Craft. Is ambidextrous. Sketches with his left, and does his finishing with the right hand. [BIOS-JS].
NANAY
Oil on Canvas
18" x 24"
1994
HAC Code: 79550
GANITO KAMI NOON
Water Color
15" x 10"
2000
HAC Code: 76688
STA.ANA CHURCH
Water Color
8.5" x 6.5"
2002
HAC Code: 67344
TAYO NA SA PALENGKE
Water Color
12" x 16"
1994
HAC Code: 79551
SAN AGUSTIN CHURCH
Water Color
8.5" x 6.5"
2002
HAC Code: 67343
SULYAP SA NAGDAAN
Pen & Ink
13" x 8"
1985
HAC Code: 79549
RURAL SCENE SERIES
Pen & Ink
18" x 13"
1985
HAC Code: 79548
BINONDO OLD HOUSE
pen & Ink
16" x 13.5"
1985
HAC Code: 79547
SHADE & SHADOWS
Pen & Ink
15" x 20"
1984
HAC Code: 77113

Tuesday, February 14, 2012

German Icarangal

was born in Bailan, Pangil, Laguna 1914 died 1984.(Illustration & easel work) BFA UP 1933. Degree in Architecture, UST 1938. To help support studies, work as illustrator for and After graduation from architecture, also taught subjects in the same field. Migrated to the US but constantly visited the Philippines, sometimes for so long periods to show his in the group exhibit and join national art competitions. Belonged to the realist school. His joining Phil Art Gallery exhibits however, led to experimentation in the semi-abstract style. Influenced by Manansala, started geometrization of the human form, rendering shapes through layers of colors as in the former’s transparent cubism. Icarangal’s paintings, however, are different due to his preference for dark and somber hues, and the use of heavy shading where shapes were articulated geometrically while texture was rough. Paintings were reproduced in the by Zolo Galang. Works are in the National Museum collection. His abstract, stylized and simplified won honourable mention at the AAP Sculpture of 1951. Again, won 2nd prize in 1952, and 3rd prize in 1953, also for sculpture, at the AAP. Won 1st prize, AAP Watercolor exhibit, 1951.[CCP Vol IV-SP]*** In the 60’s joined an art publishing firm in the States. Continued to paint local genre even while abroad. [MD]*** Was one of the original members of the Phil Contemporary Artist Club, which concentrated activities on form and media experimentation. His approach to genre painting is textural and definitive. Colors are brownish to denote warmth, the cubist texture glazed on the surface, to impart a feeling of tranquillity. Is staff artist of the Far East Regional Production Center, US Embassy. [BC, Mobilways Vol IV No1 Jul 1958].
QUIAPO CHURCH
Water Color
9.5" x 13.5"
1957
HAC Code: 79545
DALAMPASIGAN
Print
10" x 11"
1960
HAC Code: 79544
BUROL
Water Color
9" x 10"
1958
HAC Code: 79543

Thursday, January 26, 2012

Jose Joya

was born in Manila, 1931 died 1995. (Abstract Expressionism) UP magna cum laude, 1953 on university and college scholarships. BFA cum laude, Instituto de Cultura Hispanica 1955; Design studies, UST, 1956; Masters in fine arts, Cranbrook Academy of Arts, 1958, on Smith-Mundt grant; further art studies, Pratt Graphic Art Center , NY, 1969 on a John D. Rockfeller III and Ford Foundation grant. First solo Phil Art Gallery, 1954. Innumerable group shows in Beijing, Geneva, West Germany, England and Madrid. Many individual exhibits in the Phil, HK, and the US Represented in the collections of the National Museum, Fogg Museum, Harvard University, and Philadelphia Public Library, [CPA-MD]*** Earned of the distinction of being UP’s first magna cum laude. Was dean of the UP Collage of Fine Arts, 1970-1978. First works were mostly representational. During late ‘50s, gradually shifted to abstract painting, and became one of the leading painters in the genre. Has also done paintings on ceramic, as well as sketches in pentel. In 1978, the French government gave him the Order of Chevalier des Arts et Letters. Served as chairperson of the National Committee on Visual Arts of the National Commission on Culture and the Arts. [CCP Vol IV-R. Chu]***Joya is a true abstractionist, a pure painter one of the handful in the world, one of the two of three in our midst. He didn’t want to be a painter. Architecture was his first love. He was always drawing as far back as he can remember, as a child, he cut up his drawings to restore their proportion. Casting his lot among moderns in the country, he joined Lyd Arguilla and the Phil Art Gallery. Through her, he met the Neorealist, and later Luz and Zobel. He liked (works of) Vicente Manansala and Anita Magsaysay-Ho. But no collection is grater. In his eyes than the El Prado. The years 1954-55 was his European year, most of which he spent in Spain, mostly in Madrid, mostly in the Prado. The years 1956-57 were his American years. America was a turning point. In Cranbrook, he did more work, learned more about painting, and earned more from his paintings than he had ever done before. He studied under Zoltan Zepeshy, the Hungarian art teacher and one of the great art teachers of America, who had taught Anita Magsaysay- Ho a generation before. Zepeshy helped Joya to find himself. He exhibited in Detroit, where his show was a sellout. (He had wanted to exhibit in America before he was 38.) He is a major force in Filipino painting, one of the busiest painters around. He teaches composition, perspective, and anatomy at the UP. [Mobilways Vol V No 1 Jul 1959- Francisco Arcellana]*** Joya represents a breakaway from banal Victorianish, conservative school of paintings which has been riding the crest of popularity for almost the blessings of official, blandly modern circles. His intellectual approach to pictorial organization through various forms of abstraction, marks a new level in the development of Phil imaginative expression. His first one-man show was hailed as one of the best things that never happened to the cultural life of the country, a much needed reaction to the moth-eaten pictorial sentimentalism and pastoral prettiness of the past three generations. His paintings carry a new animus, a more dominant thrust, and a vigorously intellectual sense of order than heretofore seen in the paintings of his countrymen. He has also the first to bring a dynamic sense of scale to Philippine painting, a radical departure from the small drawing-room picturesqueness that fill Manila art galleries. His expressionist gestures are always tempered by a lyric Malay sensibility that avoids extremes of any kind. [Silangan Vol IX No 4 Apr 1964- Emmanuel Torres]***Represented the country at the following exhibits: 1995, together with Nena Saguil, Luis Lasa, and Fernando Zobel, the Third Hispano-Americana Biennale de Arte in Barcelona; the International Congress of Plastic Arts, New York, every year after that until 1965; and the 32nd Venice Biennale in 1964. Was commissioner general of the Philippine participation to the 8th Sao Paolo Biennale, 1965. In 1980, chaired the Philippine Contemporary Art group to San Francisco. In 1962, was elected AAP pres for three consecutive terms. Record 1st prizes at the following competitions: UP Phi-Alpha art Contest, 1951; 2nd SNSAC, 1952; UP Phil Art Contest, 10th AAP Annual , non-objective category; and the Gabriela Silang Centennial art competition. In 1961, record the Republic Cultural Heritage award in painting and the TOYM award in art. In 1971, record the Patnubay ng Kalinangan awad during the 4th Centennial of the City of Manila. Listed in Melrose Press, London, 1972. Listed in The only Filipino artist chosen for inclusion in 20th Edition, England, 1982. Featured in edited by Marlo Monteverdi and published in four languages by Academia Italia, 1984. Listed in Buckinghamshire, England, 1986. Named one of the Ten Outstanding Asean Artist, 1992. [BIOS-JS]
INARI SHRINE STEPS
Pen & Ink
13" x 10"
1962
HAC Code: ALB
BICOLANDIA(SOLD)
Collage
13" x 10"
1984
HAC Code: ALB

Sunday, December 11, 2011

Rafael Cusi

was born in, Baongabon, Oriental Mindoro 1950. (Abstracts) Studied printmaking for two years under Manuel Rodriguez, Sr at the Contemporary Graphic Art workshop, 1967. BFA Kahn scholarship grant. (Was chosen PWU-CMFA’s most outstanding student.) Ford Foundation tour grant to study cultural minorities, 1978. In 1981, recipient of eight month ASEAN tour and exhibit grant given by Zarzuela Foundation together with painters Edgar Doctor and Liongoren. Father Lucas was also a painter. First one-man show Hyatt Regency, 1980. Five solos since, the latest in 1993 at Micaller Gallery. Participated in the Japan-Phil Exchange program held Miyagi, Japan in 1986. Chosen most outstanding citizen of Mindoro in awarding rites at the Coconut Palace, 1991. [20th Cent. Vol II-MD]***In 1975, was a spot finalist at the Chinese Downtown YMCA contest, receiving 7th prize the next year. In 1976, won 1st prize in a poster contest in Australia, 2nd prize in the TV Broadcast Intl Art Contest, and 1st prize at the UST spot competition. Gold medal, AAP Semi-annual, 1979, and gold medal and grand prize for his watercolor entry in the 33rd AAP Annual, 1980.In 1985, won 1st prize in a poster & logo competition held in Detroit, Michigan. [100 Years: 100:Artists-CL
LANDSCAPE
Water Color
22" x 39"
1990
HAC Code: 05837
FOREST PARK
Water Color
22" x 15"
1994
HAC Code: 73416
NUDE
Pen & Ink
21.5" x 11"
1993
HAC Code: 77264
OLD OAK TREE
Water Color
21.5" x 29"
1992
HAC Code: 09491
LANDSCAPE (SOLD)
Water Color
22" x 29.5"
1992
HAC Code: 09492
OLD POT
Water Color
22" x 15"
1994
HAC Code: 79497