Provenance:
Commissioned by the seater

ABOUT THE WORK

Fernando Amorsolo was the king of both Philippine landscapes and the portraits of its rich and famous. It was a reign that lasted for almost half a century. He is to this day regarded as one of the most important artists in Filipino art history. Amorsolo’s work was sought after by the country’s most influential collectors; and he was also the favorite of the members of American, and later, Philippine officialdom, tycoons of different nationalities as well as well-heeled tourists who wanted to bring home a special keepsake from the Philippines. There was so much demand for his work that during the 1950s until his death in 1972, says scholar Ramon N. Villegas, Amorsolo averaged several paintings a month. He had been given a grant to travel to Europe in 1916 when he was just 24 and seeing the world gave him additional dexterity, if not maturity in his style. He would also become practiced in painting from life, a skill he would use later to maximum effect. After commercial photography had first arrived in Manila — and then become reasonably priced — the wealthy eventually demanded portraits that were more expensive, and therefore more exclusive. (For example, at the turn of the century, photographic likenesses were touched up with colors, a process the middle class could afford. The truly prosperous would always have their photos copied in oil; and if possible have one created through elaborate sittings.) Amorsolo, who had the cachet of having trained in Madrid and having arrived from Europe and the United States, stepped in quickly to fill that need. He would also plant his roots firmly in the art establishment. Following his uncle (and mentor) Fabian de la Rosa’s footsteps, Amorsolo became the director of the University of the Philippines - College of Fine Arts from 1938 to 1952. While it was during his time that UP adhered to conservative academic traditions, it only added to his renown and prestige. In the first portrait at hand, Amorsolo paints the very picture of a Filipino princess, dressed in a Maria Clara designed by the society couturier Ramon Valera himself. The virtuoso portraitist would detail all the feminine details lavishly: The capacious camisa (top) and panuelo (fichu) are made of fine silk taffeta in a verdant green; the wide skirt is covered in gold, embroidered roses and accented with an elegant bow. She is wearing traditional jewelry to match of a tambourine (or necklace of pierced and filigreed beads), criolla (hoop) earrings and a tortoise-shell peineta (comb.) She stands elegantly against a background the colors of a Philippine sunrise; truly a vision of a lady of grace and style as only the maestro could create. The second portrait, created six years earlier in 1956, faithfully captures the family matriarch. She sits regally in a sky-blue lace velvet terno, clasping a matching fan. A picture of restrained elegance and a generous soul.