ABOUT THE WORK

In 1968, Romulo Galicano painted expressionist works, still lifes with spare elements; from 1969 to 1975 he had an impressionist period with Abellana’s influence predominating. This was also his Dimasalang period, where he worked with fellow artists Emilio Aguilar Cruz, Andres Cristobal Cruz, Ibarra de la Rosa, and Sofronio Y Mendoza, figurative painters who promoted on the spot painting. Galicano believes that a painting goes beyond recording reality because it has its own formal relationships. With his eclectic stylistic borrowings from the French school, allied with his ‘snapshot’ approach to subject matter, Galicano made his presence felt in the early 1970s with a bold approach to structure and color that came from his study of Impressionists, particularly Monet, and even Postimpressionists. The subject’s figure is rendered with a luminosity that is echoed by the polychrome vibrations of the walls and balanced by the strong, bold patterns on the bed sheet fabrics. Galicano focuses on the effects of light and shade on the human figure. A May 1974 magazine article makes a glowing description of the then up and coming artist: “One of Manila’s most sought after painters among the younger crop, Romulo Galicano, who signs himself simply as ‘Romulo’... is rated by some as the best of the lot.... ...Romulo began to be noticed with his first one man exhibition in 1972. The following year, Romulo had his second, at stylish Gallery One. This was followed in March this year with a sensational sellout in the same premises... ...During the past year or so, Romulo may be passing through a period whose sequel we can only guess at. It is probable, however, that he has already reached the period of self-discovery and that development rather than change is what’s to follow. The “influence” of the French Impressionists is so obvious in Romulo that it hardly needs pointing out. What could easily escape notice is that Romulo could easily escape notice is that Romulo has never seen the works of these painters except in book reproductions...”