The Paulino Que Collection of Philippine Modern Art

Cesar Legaspi, "Bar Girls", 1947

Victorio Edades, "Self Portrait", 1928

A year ago, Paulino and Hetty Que allowed Manila art lovers to revel in their wonderful collection of Philippine contemporary

Ang Kiukok, "Girl With Doll"

paintings.  We all had our fill of the key Filipino artists making waves today in both the local and international art scene.  This month, Paulino brings out more of his collection, older pieces that any enthusiast of Philippine art history should make a point to see.

Nena Saguil, "Power Room", 1953

Meaning To Be Modern, Philippine Paintings from 1907 to 1959 mounted at the Finale Art File takes us through a fifty-year-period that saw the emergence of important work by names we revere today:  The Thirteen Moderns, The Triumvirate of Victorio Edades, Galo Ocampo, and Botong Francisco, and the stalwarts of the Philippine Art Gallery (PAG) and the Art Association of the Philippines (AAP) competitions.  The modern movement in the Philippines essentially began with Edades challenging the prevalence of the classical, idyllic images adopted by Fernando Amorsolo and his disciples.  In this exhibit, we see works considered subversive and avant-garde half a century ago.  Even more interesting for me, this show allows us to revisit works by names that no longer resonate today, artists like Cenon Rivera, Hugo Yonzon, and Venancio Igarte.

By Hugo Yonzon

Venancio Igarte, "Shop Window Stars", 1950

Senon Rivera, "Yellow Moon", 1957

This exhibit brings out so many gems, pieces atypical of the techniques that we have come to associate with certain artists.   Who would have thought of Jose Joya as a voyeur?   In his Athletes In Locker painted in 1953, we glimpse muscled buns and naked

Jose Joya, "Athletes In Locker Room", 1953

torsos of unguarded male subjects.  Nena Saguil‘s surreal Power Room, also from 1953, has a water closet dominatrix whipping turds and toilet paper to her bidding.   And you have Sanso’s Nocturnalia,  a woman of the night making her church offerings.  She dons a veil, but the plunging neckline of her lace dress gives her away for what she is.  I love Cesar Legaspi‘s Bar Girls, 1947.  He depicts two women with harsh, almost masculine features, sitting down for a smoke, perhaps waiting for their next customer.  Legaspi painted their faces green, making them even more sinister, almost grotesque. If  I had to choose a favorite, this would be it.

Sanso, "Nocturnalia", 1958

One cannot take everything in in one go, especially not on opening night with its distractions.  This exhibit deserves a second, more leisurely visit.  That gives me the perfect excuse to go back and enjoy this great opportunity that Paulino Que has allowed us to experience.

Alfonso Ossorio, "St. Martin and The Beggar", 1940

Anita Magsaysay-Ho, "Beggar Girl", 1944

Meaning To Be Modern, Philippine Paintings from 1907 to 1959 Paulino Que Collection runs from 5 to 30 March 2010 at the Finale Art File, Warehouse 17, La Fuerza Compound, 2241 Pasong Tamo, Makati City.  Phone (632) 813-2310 or visit http://www.finaleartfile.com

Arturo Luz, "Street Musicians", 1952

Arturo Luz, "Chair With Table and Lamp", 1957

Arturo Luz, "Piko", 1952

Carlos "Botong" Francisco, "Maria Makiling", 1947

Victorio Edades, "The Artist and The Model"

By Federico A Alcuaz

Fernando Zobel, "Bodegon Atillano", 1952

Galo Ocampo, "Crucifixion", 1950

Galo Ocampo, "War and Peace", Feb 10, 1955

Helen Roces Guerrerro, "Blue Madonna"

HR Ocampo, "Blooming", 1939

J. Elizalde Navarro, "Passengers On To Central Station", 1957

Jess Ayco, "Remembrance Of The Beloved", 1951

Jose Joya, "Details of Notre Dame", 1956

Jose Joya, "Approaching Storm", 1951

Juan Arellano, "Madamoiselle of Zamboanga"

Vicente Manansala, "Beggars", 1952

Rodolfo Ragodon, "Chinatown", 1956

Victor Oteyza, "Plastic Engineering"

"Meaning To Be Modern", opening night

Viewing Paulino Que’s Collection of Young Contemporary Artists (aka, The I Wish They Were Mine Show)

 

Three years ago, Ambeth Ocampo arranged for the

Kim Atienza and Ayala Museum's Ken Esguerra with Jojo Legaspi's "St Thelma"

Board of Trustees of the Museum Foundation of the Philippines to view Paulino and Hetty Que’s collection of Philippine art and historical objets.  Ambeth, perhaps only half-kidding, dubbed the occasion the tour of the”… real National Gallery”.  As he took us through the assembly of works, from Juan Luna’s canvases, to Fabian dela Rosa’s landscapes, then onto the Amorsolos, and the Thirteen Moderns, from the Ben Cabs to the Ang Kiukoks, we realized what Ambeth meant.  The staggering display covered the whole gamut of Philippine art history from Damian Domingo’s Academia de Dibujo to the 1980s.  

Alfredo Esquillo Jr., "The Thomasites Were Here"

Geraldine Javier and Ateneo's Leo Garcia with her piece, "Bubbles In His Head"

Trust a collector like Paulino Que to keep up with the times.  What had not been on view then, he shares with Philippine art lovers now as he brings out his collection of young contemporaries.  What a treat to see the best of the best of paintings from 1996 to today, from the most celebrated and exciting artists we currently follow.  

View from upstairs of Elmer Borlongan's "Solo Show"

Thank you to Paulino for generously sharing a part of his collection, and allowing us the privilege to witness contemporary art history in the making.

Kawayan De Guia, "Subtle Repercussions A"

Yael Buencamino, Gerry Tan, and Mark Justiniani's "Roundtrip Overload"

John and Pam Santos with John's piece, "Behind the Scenes"

Of the 21 pieces up on Finale’s huge walls,  there are a few that I wish I could wrap up and hang on mine:  Jojo Legaspi’s St. Thelma tops my list.  No one else depicts stark terror and anger as finely as he does.  You feel the profanity come to life.  Then, Geraldine Javier at her lyrical and melancholic best with Bubbles in His Head.  So sadly beautiful.  I wish I had the means to commission Behind the Scenes by Jose Santos III.  John just keeps getting better and better.  The Thomasites Were Here  brings us  another of Alfredo Esquillo Jr’s excellently- rendered commentaries on Philippine historical events.   Too bad I don’t have the space for this triptych (as if!).  And I must say I also love Kawayan De Guia’s  Subtle Repercussions A which I find to be the most contemporary of the bunch. 

Robert Langenegger, "Rolling Paperworks" and Louie Cordero, "Untitled"

Would love to hear your favorites!

 

 

 

 

 

 

 

 

 

 

Mona and Soler Santos viewing Annie Cabigting's "Viewing Bacon"

 

 

 

 

 

 

 

Figuring The Times, Philippine Paintings 1996 to 2009, A Selection from the Paulino Que Collection is on view at Finale Art File from 13 March to 3 April 2009.  Finale is located at Warehouse 17, La Fuerza Compound, Pasong Tamo, Makati.  Phone (632) 810-4071 or visit www.finaleartfile.com.  For more information on Geraldine Javier visit www.geraldinejavier.com