When Tomas Fernandez Concepcion made this work, he had been cast among the many Filipinos living in the diaspora. However, he was led to a different path. Originally predestined towards architecture, Concepcion would steer against his fate, enrolling in art schools, first in Manila, then at the San Francisco State College, where he majored in Painting and Theater Design. When he left his native country, it would eventually become clear that Concepcion was destined to live a well-traveled life. Concepcion then went to Montreal, studying at the Ecole des Beaux-Arts. Concepcion then traveled all the way down to the US East Coast. There, he would become famous for his production designs for the sets of several beloved musicals: South Pacific, Kismet, and Pal Joey.
Not feeling fulfilled with how things were turning out, Concepcion traveled to Europe, visiting museums and art galleries. He would then settle in romantic Rome, falling in love with its vibrant art environment. He eventually set up his first studio in the historic heart of Italy.
Concepcion had yet to formally jumpstart his professional painting career when he made this work titled Filipina Nude No. 2, which he painted in Rome. He would only introduce himself to the formidable art scene with his debut solo exhibition held at Palm Beach Galleries, Florida, in 1963.
Concepcion’s virtuoso in portraiture was much acclaimed and coveted by the international high society; he produced portraits for Prince Steno Borghese, Duchess Nicoletta di Serracapriola, legendary African American soprano vocalist Leontyne Price, American conductor Thomas Schippers, Italian novelist and journalist Alberto Moravia, noted Belgian banker and art collector Baron Leon Lambert, and Italian silver screen legends Silvana Mangano and Marcello Mastroianni.
As a worthy addition to the Philippines’ rich Catholic heritage, Concepcion became the first-ever Filipino to produce the sculptures of two Popes: that of Paul VI and of John Paul II, the latter of which the Vatican commissioned as a gift to the people of Guam. (Adrian Maranan)
PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION
Literature: Araneta, Antonio S., ed. 1030 R. Hidalgo: Volume II, Legacy in Art. Manila: Mara, Inc., 1986. Full-color illustration and painting description on page 135.