Friday, January 27, 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]
Nude
Pen and Ink
12 x 9
1922
HAC Code: CS 3658 (3)
Katsuya Imperial Palace Kyoto
Pen and Ink
9 x 12
1962
HAC Code: CS 3658 (2)
Landscape
Pen and Ink
7 x 11
1965
HAC Code: CS 3658 (1)
INARI SHRINE STEPS
Pen & Ink
13" x 10"
1962
HAC Code: ALB
BICOLANDIA(SOLD)
Collage
13" x 10"
1984
HAC Code: ALB

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