Amorsolo: Bullock Cart
Fernando Amorsolo (1892-1972)
Bullock Cart
signed and dated 1967 (lower right)
oil on masonite board
10” x 14” (25 cm x 36 cm)
Opening bid: P 400,000
Provenance:
Acquired directly from the artist by J. Antonio Araneta
Leon Gallery wishes to thank Mrs. Sylvia Amorsolo-Lazo for confirming the authenticity of this lot
Lot 88 of the Leon Gallery / Asian Cultural Council auction on 20 February 2016. For more details, please go to www.leon-gallery.com
With a career starting from the 1920s to the late 1960s, Amorsolo and his school may have found opposition in the many modernists from the 1930s onwards, but his pastoral works were never on the wrong side of popular (the patrons’) opinion.
In this 1967 work, Amorsolo used natural light in his paintings and developed the backlighting technique which can be hinted in this bucolic scene. In typical Amorsolo fashion, the figure of a man alongside the carabao is outlined against a characteristic glow, and the subdued silhouette of the mountain backdrop holds the composition while helping to highlight details in the foreground. This work is a fine exception to the adage that Philippine sunlight was a constant feature of Amorsolo's pastoral works.
Amorsolo: Bullock Cart
Fernando Amorsolo (1892-1972)
Bullock Cart
signed and dated 1967 (lower right)
oil on masonite board
10” x 14” (25 cm x 36 cm)
Opening bid: P 400,000
Provenance:
Acquired directly from the artist by J. Antonio Araneta
Leon Gallery wishes to thank Mrs. Sylvia Amorsolo-Lazo for confirming the authenticity of this lot
Lot 88 of the Leon Gallery / Asian Cultural Council auction on 20 February 2016. For more details, please go to www.leon-gallery.com
With a career starting from the 1920s to the late 1960s, Amorsolo and his school may have found opposition in the many modernists from the 1930s onwards, but his pastoral works were never on the wrong side of popular (the patrons’) opinion.
In this 1967 work, Amorsolo used natural light in his paintings and developed the backlighting technique which can be hinted in this bucolic scene. In typical Amorsolo fashion, the figure of a man alongside the carabao is outlined against a characteristic glow, and the subdued silhouette of the mountain backdrop holds the composition while helping to highlight details in the foreground. This work is a fine exception to the adage that Philippine sunlight was a constant feature of Amorsolo's pastoral works.