Vicente S. Manansala
(22 Enero –22 Agosto )
Itinanghal na Pambansang Alagad ng Sining sa Pintura noong si Vicente S. Manansala (Vi·sén·te Es Ma·nan·sá·la). Bahagi siya ng tinaguriang “Thirteen Moderns.” Gaya ng iba pang modernista, pinili ni Manansala na ipakita ang sining gaano man kapangit ang tema o kaligirang kinapapalooban ng kaniyang mga paksa. Protesta ang mga obra niya sa klasikong Amorsolo.
Ang kaniyang unang solong eksibisiyon ay ginanap sa Manila Hotel noong Nakilala siya sa estilong kubismong naaaninag (transparent cubism)–ang kaniyang mga pigura sa kanilang pinakapayak na hugis heometriko ay nanatiling nakikita sa kanilang kabuuan. Binigyan ng bagong buhay ni Manansala ang kubismo sa pamamagitan ng paggamit sa mga karaniwang kaligirang Filipino at mga katutubong tema sa konteksto ng nagbabagong kalungsuran. Makikita ang ganito sa Jeepneys, Calesa, Planting of the First Cross, Sinigang, Pila sa Bigas, Barongbarong at A Cluster of Nipa Hut. Naging bantog din ang kaniyang obrang nagtatampok sa mga tindera sa Quiapo na nakasuot ng belo. Si Manansala rin ang may likha sa lampas-táong mural sa pader na matatagpuan sa bulwagan ng Philippine Heart Center.
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The Genre Works of National Artist Vicente Manansala
Vicente “Mang Enteng” Silva Manansala, posthumously declared National Artist upon his death in , was a remarkable artist and human being of larger-than-life proportions. Manasala was born in Macabebe, Pampanga. A newsboy, golf caddy, and bootblack in his youth, this son of a barber carried the tough street language and garrulous demeanour of his roughneck childhood in pre-War Intramuros well into his sunset years in the seventies, when he was one of the most financially successful artists of his generation. Schooled in the starched-necked ways of the old Araullo public school and the University of the Philippine School of Fine Arts, Enteng could also be charming and famously gallant to women. Although in his early adulthood, he was somewhat of a torpé that it took him eight years of on- and-off courtship to persuade the former Hermenegilda Diaz to be his wife, eloping with her after planting their first kiss during a movie date.
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These contradictions of a poverty-stricken childhood and later artistic success in the highest social circles of
Who was Vicente Manansala?
Vicente SilvaManansala was a Filipinocubistpainter and illustrator.
Manansala was born in Macabebe, Pampanga. From to , he studied at the U.P. School of Fine Arts. In , Manansalareceived a six-month grant by UNESCO to study at the École des Beaux-Arts in Banff and Montreal, Canada. In , he received a nine-month scholarship to study at the École des Beaux-Arts in Paris by the French government.
Manansala's canvases were described as masterpieces that brought the cultures of the barrio and the city together. His Madonna of the Slums is a portrayal of a mother and child from the countryside who became urban shanty residents once in the city. In his Jeepneys, Manansala combined the elements of provincial folk culture with the congestion issues of the city.
Manansala developed transparent cubism, wherein the "delicate tones, shapes, and patterns of figure and environment are masterfully superimposed". A fine example of Manansala using this "transparent and translucent" technique is his composition, Kalabaw.
Vicente Manansala, a National Artist of the Philippines in Visual Arts, was a direct influence to his fellow Filipino neo-realists: Malang, Angelit
I Believe in God, , oil on masonite
One of the group of Thirteen Moderns and Neo Realists, Vicente Silva Manansala had the good fortune to study art in Canada, the United States, France and Switzerland through a number of grants he received from UNESCO, the French government and the U.S. State Department. He studied at the Ecole de Beaux Arts in under the mentorship of Fernand Léger, a renowned French artist and exponent of cubism.
Manansala&#;s early works were influenced by Fernando Amorsolo whose paintings celebrated Philippine landscapes and local culture. Manansala&#;s oeuvres portray the working class like the fish and candle vendors, the man with the rooster, or the family praying together (above image). I believe in God is a painting completed by Manansala before he dabbled into cubism. The figures and forms are solid depictions of farmers in the rural landscape.
Procession, , oil on canvas
was three years after the second world war. The Philippines was quite devastated and the people were reeling from the death and destruction of war. They were putting their lives back together. Procession presents a somber scene with people dressed primarily in bl
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