This piece is accompanied by a certificate issued by Mr. Christian Aguilar confirming the authenticity of this lot

Provenance: Boston Gallery

ABOUT THE WORK

Alcuaz’ famous “Tres Marias” series were started in the late 1970s. During those years he used as models hotel staff and waitresses of the different outlets of the Manila Hilton, and immortalized them on his canvases. Alcuaz’ Tres Marias genre of beautiful, long-gowned women with a 19th century air amid 20th century living rooms were always engaged in a variety of laid back domestic activities. The color schemes for his Tres Marias must have come from the influence of Velasquez and Goya, and in these he also shares kinship with Juan Luna. Better yet, the Three Graces or the group portraits of gowned women in white by John Singer Sargent, and they never really followed the requisite number of three sitters. His works were consistent with, yet were a more casual version of, the grand manner of portraiture. What is probably the secret of Alcuaz’ art is that he was a true hedonist in his approach to life, nature and the world at large. This is what rings true in his work, in which his refined and sophisticated way of seeing, feeling and transforming onto canvas guides his art purely and uninterruptedly, with the least interference of common considerations. He also took a great pleasure in the materials he used and knew how to bring out their best properties, discovering the secrets of color and tone. All the different parts of the composition, the subtle interplay of light and shadow, and the setting serve to focus the attention of the viewer on the charming countenances of the women, most of whom look like ingénues from the late 1980s. And it is in some of his late works where one senses Alcuaz painting most purely for himself. His gowned women were executed with a joyful fluidness. Having his own concept of human beauty, grace, calm and happiness, the maidens as seen by Alcuaz take shape in an unruffled calm. The dexterity of his brush corrects the imperfections of nature, without the slightest awareness that he was doing so. This is why the painter’s vision presents us with a picture of grace, harmony and distinction without affecting the wholesome characters of the sitters.