Cesar Legaspi
Famous Filipino Painters: Cesar Legaspi (1917-1994) is a Filipino National Artist awardee in painting. He was also an art director prior to going full-time in his visual art practice in the 1960s. His early (1940s-1960s) works, alongside those of peer, Hernando Ocampo are described as depictions of anguish and dehumanization of beggars and laborers in the city. These include Man and Woman (alternatively known as Beggars) and Gadgets'. Primarily because of this early period, critics have further cited Legaspi's having "reconstituted" in his paintings "cubism's unfeeling, geometric ordering of figures into a social expressionism rendered by interacting forms filled with rhythmic movement".
Ang Kiukok
Famous Filipino Painters: Ang Kiukok (Chinese: 洪救國, March 1, 1931- May 9, 2005) was a leading Filipino painter and a National Artist for Visual Arts.
He was born in Davao City, Philippines to Chinese-Filipino parents who had emigrated from Fukien. He pursued Art Studies at the University of Santo Tomas, where he was taught by Filipino art masters, most notably Vicente Manansala who was to become a lifelong friend and mentor.
He first attained prominence in the Philippine arts scene in the 1960s with a distinct style that fused influences from cubism, surrealism and expressionism. Some classified his style as "figurative expressionism", others merely called it ugly. What could not be doubted was the violence in his imagery, a factor that slighted the commercial viability of his works until the 1980s. He favored such subjects as fighting cocks, rabid dogs, and people enraptured by rage or bound in chains. He painted multiple depictions of the crucified Christ that did not shirk from portraying the agonies normally associated with the crucifixion. When asked why he was so angry, he replied, "Why not? Open your eyes. Look around you. So much anger, sorrow, ugliness. And also madness." The intensity of his works stood in contrast to his own personality, described as "placid and affable".
He was born in Davao City, Philippines to Chinese-Filipino parents who had emigrated from Fukien. He pursued Art Studies at the University of Santo Tomas, where he was taught by Filipino art masters, most notably Vicente Manansala who was to become a lifelong friend and mentor.
He first attained prominence in the Philippine arts scene in the 1960s with a distinct style that fused influences from cubism, surrealism and expressionism. Some classified his style as "figurative expressionism", others merely called it ugly. What could not be doubted was the violence in his imagery, a factor that slighted the commercial viability of his works until the 1980s. He favored such subjects as fighting cocks, rabid dogs, and people enraptured by rage or bound in chains. He painted multiple depictions of the crucified Christ that did not shirk from portraying the agonies normally associated with the crucifixion. When asked why he was so angry, he replied, "Why not? Open your eyes. Look around you. So much anger, sorrow, ugliness. And also madness." The intensity of his works stood in contrast to his own personality, described as "placid and affable".
Jose T. Joya
Famous Filipino Printmakers: Joya was a printmaker, mixed media artist, and a former dean of the University of the Philippines' College of Fine Arts. He pioneered abstract expressionism in the Philippines. His canvases were characterized by "dynamic spontaneity" and "quick gestures" of action painting. He is the creator of compositions that were described as "vigorous compositions" of heavy impastoes, bold brushstrokes, controlled dips, and diagonal swipes".
His works were strongly influenced by the tropical landscapes of the Philippine Islands. Among his masterpieces are the Nanking (a collage rendered with Asian calligraphy and forms and patterns resembling rice paddies), the Granadean Arabesque (1958) and Venice Biennial (1964).
His works were strongly influenced by the tropical landscapes of the Philippine Islands. Among his masterpieces are the Nanking (a collage rendered with Asian calligraphy and forms and patterns resembling rice paddies), the Granadean Arabesque (1958) and Venice Biennial (1964).
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