Like a vocation to some sacred priesthood, the arts have lured their willing acolytes into committing themselves to the Muses—they whom the late celebrated writer Truman Capote described as relentless and merciless. He likened the practice of art to accepting from God a whiplash with which to scourge one’s self for life.
Epiphany, Ascribed to the Greek word epiphaneia, meaning “appearance” or “manifestation,” is the unexpected enlightenment engendered by the sight of an object, or an encounter with another person, or arrival at a familiar place.
“I believe in God. Only I spell it Nature.” That intriguing statement from the great American architect Frank Lloyd Wright precisely intersects with the sentiments of Filipino artist Edwin Wilwayco who, with his deeply felt Christian beliefs and choice of a pervasive artistic theme, celebrates with another outpouring of artworks in a show steadfastly titled “In Nature’s Realm: So Quietly the Earth.”
In late 2007, artist Addie Sycip Cukingnan held a show titled “Visions of China.”
Great painters were enamored with flowers, which they depicted with ardor and affection and in a multiplicity of variations.
Not only in their imagination do artists take flight. Indeed, key artists travel outside their original geographies in search of new worlds, landscapes, colors and other people that can serve as essential stimuli for their art.
BE cursed, plunderers and imitators of the work and talent of others.”
“Sootine” is what you may want to christen Junyee, the appellation adverting to the Jewish Expressionist painter Chaim Soutine. That’s after you have seen the Filipino artist’s recent art production using a most unconventional medium—soot.
Among Filipino artists, Carlos V. Francisco is one of a few in whom interest by the public, by scholars, by connoisseurs and collectors has not waned. In the landscape of Philippine art (which is abreast, or tries to be, with the latest), the art of Francisco has been and continues to be examined. His artworks are coveted, while his style and aesthetics impact or inspire artists from his native Angono and from farther afield.”
The female Amorsolo” was a phrase-paean ascribed to the recently departed Anita Magsaysay-Ho, by virtue of the fact she was the only female member of the so-called Thirteen Moderns, a list drawn up by Victorio Edades, pioneer proselytizer of modern art in the country.
To an audience in thrall with painting—that is to say, canvases in glistening oils which are regarded as an artist’s masterworks—an exhibition of a collection of drawings will possibly not cause a ripple of excitement. That should come as no surprise.
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