Wednesday, October 12, 2011

Vicente Manansala

was born in Macabebe, Pampanga 1910 died Makati 1981. (Transparent cubism) Graduated from the UP School of Fine Arts, 1930, the youngest in his class.Ecole de Beaux in Banff, Montreal, Canada, 1949, on a six-month UNESCO grant. Ecole de Beaux Arts, University of Paris, 1950 on a nine-month French government scholarship. Stained glass technique, Greenland Studio under Le Compt, NY, 1960 under a US Dept of State specialist grant. Otis Art Inst, 1967. German grant, Zurich, 1970. Recd drawing lessons from Ramon Peralta, professor at the UP School of Fine Arts, at the age of 15. While abroad, worked in the studio of Fernand Leger, where he learned the techniques of cubism. By the ‘30s, was employed in advtg firms and newspapers, like the Victorio Edades included him in the list of the in 1941, and in 1950, critic Emilio Aguilar Cruz pinpointed him as the key synthesizer of a style called Neorealism. Taught UST, 1951-58. Produced over a major murals, including the fifteen for UP Chapel, the mural for the Philippine Heart Center (painted in a record 58 days), and the fresco mural for the National Press Club. Was interested in college, Chinese scroll painting, and explorations of the Japanese shibui style. [20th CENT 1st Ed- MD] *** Lived in Intramuros in his youth and was a neighbor of future status artists Antonio Dumlao and Jose Alcantara. In his youth, did backgrounds for movie posters. One of his early exhibits was with National Artist Botong Francisco and Fortunato Rasco, a three-man show at Phil Vistas in Intramuros, the first commercial art gallery in Mla.[ 20th CENT Vol I )*** Shunning Amorsolo’s rural idylls, Manansala developed a new imagery based on the postwar urban experience. The city of Mla, through the vision of the artist, assumed a strong folk character. Painted an innovative Mother and Child in 1950, which reflected the poverty of postwar Mla. The cubist aspect of his works rests largely on the geometric faceting of forms and in the shifting and overlapping of planes . Developed the style of transparent cubism, which was generally shared by fellow Neorealist Cesar Legaspi and Romeo Tabuena. Unlike analytical cubism, which arbitrarily fragments dissect the figure into complex abstract compositions with only clues of the subject remaining. Manansala stayed close to the figure, which he simplified to its basic geometric shape. [CCP Vol IV-AG] *** First one-man show, Mla Hotel, 1951, and seven others. Won 1st prize during the Spanish Biennial exhibits in 1955, and in 1956, conferred the top award during the UN Art contest. In 1957, copped 2nd prize at the Southeast Asia Art Conferrence exhibit in Mla with his painting Won 1st prizes at the Natl Art exhibit (UST, 1940); AAP Annual (1950); and Republic Expo (1951). Distinctions include outstanding UP alumnus (1957); Republic Heritage Award (1963); Araw ng Maynila Award (1970); and the Natl Artist award (1981, upon his death). [MD]*** His sojoums abroad caused his style to shift from the very academic to the abstract. Fortunately for his art , his stubborn sense of originality enabled him to work out a style that is forceful, direct, and at its best, deeply suggestive. It is this that makes several of his canvases the high-water mark in the native religious art. At the same, it explains why he is widely admired and accepted even among those who are impatient with modernism. Among his fellow painters, he rates very highly. His recent discoveries in glazing, for example, are the envy of his colleagues. He is the best when he directs attention to the native. His is a transitional piece. After this work, his hues became darker and more tragic. Has won more awards in the past few years than any other Filipino painter, a fact which may indicate the importance of his work. [Mobilways Vol 3 No 1 Jul 1957 Recardo Demetillo]*** His works represent the art of the ‘50s that spearheaded the postwar modern art movement in the country. A recurring theme in his works is the Filipino family, Mother and Child, the woman vendor, the man with rooster. One can see the influence of modern western art, particularly the effects of cubism, on his art works, and sometimes the stained quality of Rouault in his colors. [Silangan Vol 16 No 1 Oct 1970]*** As a watercolorist, he leaves before daybreak on weekends to paint in Taytay, agono, Binangonan, and Mandaluyong. His apparent preference for the wet technique, wetting the paper as to produce seemingly accidental bleeding effects and the summary statement of images, indicate a concern for balance between a painting’s mood and mode. He achieves a complete visual statement with a minimum amount of brush work. Shibui, the Japanese would say. Known for his cubism vendors. Madonnas, and murals, the touch in his landscape of isolation in his landscape watercolors is a new face, a revelation. These unpeopled works give a tinge of isolation. Coincidentally, Manansala as a child, used watercolor for coloring his drawings of cockroaches, lizards and grasshoppers. [Achipelago Mar 1974-Rod Paras-Perez].
FISH VENDORS
Print
14.5" x 13.75"
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HAC Code: PR016
MANGO HARVEST
Print
10.25" x 9.75"
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HAC Code: PR017
FETCHING WATER
Print
10.75" x 9"
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S O L D
NAGBABAYO NG PALAY
Print
10.25" x 9.25"
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BUHAY SA PROBINSYA
Print
11" x 9.5"
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