View allAll Photos Tagged lanzones
Pre-colonial Mountain House - by JBulaong 2020 #Precolonialmountainhouse #PrecolonialPhilippines #Maharlika #Philippinearchitecture #JBulaong #oiloncanvas #painting #Islandsofgold #Ophir #utopia #ancientPhilippinegold #Filipinohouse #indigenousarchitecture #lanzones
Round , Bilog
In the Philippines with old and new year every food that is collected is round (Bilog in Tagalog)
It is thought to bring good luck (swirte in Tagalog)
It brings good luck indeed to all the vendors indeed in this time, prices are rising sky high.
Here are some examples in a collage of the Filipino round foods, all of them are fruit, but better classified as drupe (steenvrucht):
from left to right,
Coconut , Niyog is on the left
In the middle we find:
Sugar apple, Atis
Rambutan
Lanzones
And on the right, just because they are so pretty; Rambutan in the tree.
We wish you all a Happy New Year!
Manigong Bagong Taon!
"Lenape an immature male Snowy Owl stopped by today as he begins his big migration north. This immature male was tagged at Island Beach State Park in New Jersey on Nov. 29, 2017 by Mike Lanzone, the second owl tagged there that day. Lenape’s transmitter was underwritten by generous donations by the public to Project SNOWstorm."
DISCLAIMER: This Snowy Owl was photographed from a safe distance, using a 600mm prime lens, on a cropped sensor, which is a 900mm focal length equivalent. The image was also cropped in post editing. No Dunes were harmed during the making of this picture.
Snowy Owl
The Snowy Owl (Bubo scandiacus) is a large, white owl of the typical owl family. Snowy Owls are native to Arctic regions in North America and Eurasia. Younger Snowy Owls start with darker plumage, which turns lighter as they get older. Males are almost all white, while females have more flecks of gray plumage.
For more info: en.wikipedia.org/wiki/Snowy_owl
The Palazzo Visconti frescoes are a series of eight frescoes by Donato Bramante, created in 1486-1487, now hanging in the Pinacoteca di Brera, in Milan. They are the only surviving fragments of the decorative scheme in a room of the now-demolished Palazzo Visconti (later renamed the Palazzo Panigarola) on via Lanzone in Milan and were commissioned by its then-owner, privy counsellor Gaspare Ambrogio Visconti. The earliest mention of them is one in the 16th century written by Giovanni Paolo Lomazzo when the cycle in the room was still complete – he states that they showed the most famous soldiers of their time.
They are shown inside fake architectural niches, which help give them considerable perspectival strength. The figures' clear definition and the clear spatial network help give the figures a sculptural impression. This and their archaeologically researched costumes turn the figures into soldiers of ancient Rome.
The works belong to a Renaissance tradition of cycles of famous people, such as Andrea del Castagno's Famous Men and Women Cycle and Famous Men of the Past and Present in the studiolo of Federico da Montefeltro.
The Palazzo Visconti frescoes are a series of eight frescoes by Donato Bramante, created in 1486-1487, now hanging in the Pinacoteca di Brera, in Milan. They are the only surviving fragments of the decorative scheme in a room of the now-demolished Palazzo Visconti (later renamed the Palazzo Panigarola) on via Lanzone in Milan and were commissioned by its then-owner, privy counsellor Gaspare Ambrogio Visconti. The earliest mention of them is one in the 16th century written by Giovanni Paolo Lomazzo when the cycle in the room was still complete – he states that they showed the most famous soldiers of their time.
They are shown inside fake architectural niches, which help give them considerable perspectival strength. The figures' clear definition and the clear spatial network help give the figures a sculptural impression. This and their archaeologically researched costumes turn the figures into soldiers of ancient Rome.
The works belong to a Renaissance tradition of cycles of famous people, such as Andrea del Castagno's Famous Men and Women Cycle and Famous Men of the Past and Present in the studiolo of Federico da Montefeltro.
The Palazzo Visconti frescoes are a series of eight frescoes by Donato Bramante, created in 1486-1487, now hanging in the Pinacoteca di Brera, in Milan. They are the only surviving fragments of the decorative scheme in a room of the now-demolished Palazzo Visconti (later renamed the Palazzo Panigarola) on via Lanzone in Milan and were commissioned by its then-owner, privy counsellor Gaspare Ambrogio Visconti. The earliest mention of them is one in the 16th century written by Giovanni Paolo Lomazzo when the cycle in the room was still complete – he states that they showed the most famous soldiers of their time.
«Il problema qui, secondo me è la luce. Facci caso. La luce dell'estate, qui, è strana. Non sembra quasi di essere sulla terra». In effetti non riesco a dare del tutto torto al tassista col quale ho attaccato bottone mentre sono qui, di fronte al mio hotel a prendere un po' di sole. Poi però mi ricordo che siamo a Reykjavík e quindi penso che in fondo la luce sarà anche strana ma probabilmente è solo colpa della latitudine. In fondo è giugno e ci sono 15 gradi e mi sembra già abbastanza assurdo così, tenuto conto che a casa mia ce n'è più del doppio. Ma d'altronde è una mera questione di latitudine.
Saluto il tassista e faccio due passi. Guardo gli altri turisti che si fermano davanti ai vari ristoranti che stanno qui a guardare il menù, a capire se vogliono davvero mangiare quello che c'è scritto sul menù e, sopratutto, a capire se vogliono davvero spendere tutti quei soldi per mangiare quello che c'è scritto sul menù: ma d'altronde si sa, l'Islanda è cara. Come tutti i paesi scandinavi, del resto.
Luoghi comuni, sempre questi luoghi comuni. Cerco sempre di evitarli, di pensare che in fondo non sono veri, ma poi mi ricordo della prima sera, quando al ristorante ho ordinato un caffè espresso perfettamente italiano e l'ho pagato cinque euro e mi sono maledetto per tutto il resto della serata. E ancora mi maledico, anche adesso che ci penso.
Intanto sono arrivato al porto. Una nave della marina è ormeggiata davanti a me. Non posso fare a meno di notare che la luce appiattisce tutto, è davvero strana. Ma evidentemente dev'essere una questione di latitudine.
Camiguin Island, Philippines
Like candy and the perfect traveling snack. They were in season.
Nikon D700
Nikkor AF-S 24-70mm f/2.8G ED
1/640s f/4.0 ISO 1600
180715_145355_oly-PEN-f_Italië
Piazzetta San Josemaria Excrivà
Via Lanzone
Via Orazio
Via S. Pio V
Sant Ambrogio
Milano
Lombardy
Italy
"Lenape an immature male Snowy Owl stopped by today as he begins his big migration north. This immature male was tagged at Island Beach State Park in New Jersey on Nov. 29, 2017 by Mike Lanzone, the second owl tagged there that day. Lenape’s transmitter was underwritten by generous donations by the public to Project SNOWstorm."
DISCLAIMER: This Snowy Owl was photographed from a safe distance, using a 600mm prime lens, on a cropped sensor, which is a 900mm focal length equivalent. The image was also cropped in post editing. No Dunes were harmed during the making of this picture.
Snowy Owl
The Snowy Owl (Bubo scandiacus) is a large, white owl of the typical owl family. Snowy Owls are native to Arctic regions in North America and Eurasia. Younger Snowy Owls start with darker plumage, which turns lighter as they get older. Males are almost all white, while females have more flecks of gray plumage.
For more info: en.wikipedia.org/wiki/Snowy_owl
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Man with halberd (around 1486) - Detached fresco carried on canvas - cm 95 x 115 - Pinacoteca of Brera Milan
Gli affreschi strappati costituiscono i frammenti superstiti della decorazione ad affresco eseguita da Donato Bramante negli anni ottanta del Quattrocento in una sala di Palazzo Panigarola, un tempo esistente in via Lanzone e oggi distrutto. Gli furono commissionati dal consigliere di corte Gaspare Ambrogio Visconti, allora proprietario della casa.
La più antica testimonianza pervenutaci è quella del Lomazzo, che li descrive nel Cinquecento, quando il ciclo era ancora integro. Secondo la sua testimonianza, avrebbero rappresentato i più celebri uomini d'arme del tempo.
The detached frescoes are the surviving fragments of the fresco decoration executed by Donato Bramante in the eighties of the fifteenth century in a palace Panigarola room (now destroyed). They were commissioned by the court counselor Gaspare Ambrogio Visconti, then owner of the house.
The oldest surviving testimony is that of Lomazzo, who describes them in the sixteenth century, when the cycle was still intact. According to his testimony, they would have represented the most famous men of arms of the time.
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Man of arms (around 1486) - Detached fresco carried on canvas - cm 90 x 113 - Pinacoteca of Brera Milan
Gli affreschi strappati costituiscono i frammenti superstiti della decorazione ad affresco eseguita da Donato Bramante negli anni ottanta del Quattrocento in una sala di Palazzo Panigarola, un tempo esistente in via Lanzone e oggi distrutto. Gli furono commissionati dal consigliere di corte Gaspare Ambrogio Visconti, allora proprietario della casa.
La più antica testimonianza pervenutaci è quella del Lomazzo, che li descrive nel Cinquecento, quando il ciclo era ancora integro. Secondo la sua testimonianza, avrebbero rappresentato i più celebri uomini d'arme del tempo.
The detached frescoes are the surviving fragments of the fresco decoration executed by Donato Bramante in the eighties of the fifteenth century in a palace Panigarola room (now destroyed). They were commissioned by the court counselor Gaspare Ambrogio Visconti, then owner of the house.
The oldest surviving testimony is that of Lomazzo, who describes them in the sixteenth century, when the cycle was still intact. According to his testimony, they would have represented the most famous men of arms of the time.
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Poet graduated with a red hat (1490 - 1492) - Detached fresco carried on canvas - 120 x 115 cm -
Gli affreschi strappati costituiscono i frammenti superstiti della decorazione ad affresco eseguita da Donato Bramante negli anni ottanta del Quattrocento in una sala di Palazzo Panigarola, un tempo esistente in via Lanzone e oggi distrutto. Gli furono commissionati dal consigliere di corte Gaspare Ambrogio Visconti, allora proprietario della casa.
La più antica testimonianza pervenutaci è quella del Lomazzo, che li descrive nel Cinquecento, quando il ciclo era ancora integro. Secondo la sua testimonianza, avrebbero rappresentato i più celebri uomini d'arme del tempo.
The detached frescoes are the surviving fragments of the fresco decoration executed by Donato Bramante in the eighties of the fifteenth century in a palace Panigarola room (now destroyed). They were commissioned by the court counselor Gaspare Ambrogio Visconti, then owner of the house.
The oldest surviving testimony is that of Lomazzo, who describes them in the sixteenth century, when the cycle was still intact. According to his testimony, they would have represented the most famous men of arms of the time.
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Man of arms with beard and helmet (around 1486) - Detached fresco carried on canvas - cm 90 x 113 - Pinacoteca of Brera Milan
Gli affreschi strappati costituiscono i frammenti superstiti della decorazione ad affresco eseguita da Donato Bramante negli anni ottanta del Quattrocento in una sala di Palazzo Panigarola, un tempo esistente in via Lanzone e oggi distrutto. Gli furono commissionati dal consigliere di corte Gaspare Ambrogio Visconti, allora proprietario della casa.
La più antica testimonianza pervenutaci è quella del Lomazzo, che li descrive nel Cinquecento, quando il ciclo era ancora integro. Secondo la sua testimonianza, avrebbero rappresentato i più celebri uomini d'arme del tempo.
The detached frescoes are the surviving fragments of the fresco decoration executed by Donato Bramante in the eighties of the fifteenth century in a palace Panigarola room (now destroyed). They were commissioned by the court counselor Gaspare Ambrogio Visconti, then owner of the house.
The oldest surviving testimony is that of Lomazzo, who describes them in the sixteenth century, when the cycle was still intact. According to his testimony, they would have represented the most famous men of arms of the time.
Lanzones is a sweet edible fruit that contains numerous nutrients, vitamins, and minerals, which are beneficial to the body's health.
Donato Bramante (Donato di Pascuccio) (1444-1514)
Heraclitus and Democritus, c. 1486
Fresco Transferred To Canvas
The eight paintings, which entered the Pinacoteca di Brera between 1901 and 1902, come from the house acquired in 1486 by the court poet and ducal counselor Gaspare Visconti on what is now Via Lanzone in Milan, which later passed into the hands of the Panigarola family. The presence of Bramante in Visconti’s home as witness to a deed drawn up in 1487 and the immediate repercussions that the cycle had on the Milanese painting of the time suggest that it was executed over a short space of time, around the years 1486-88.
It is possible to reconstruct the original appearance and iconographic significance of Bramante’s decoration from several sources. An inventory compiled in 1500 after Gaspare’s death describes a “chamber of barons” between a “chamber of the school” and one “of trees.” The meaning of the cycle, linked to the circles in which the client moved, is explained by a passage in the Trattato dell’arte della pittura, scultura ed architettura by Giovanni Paolo Lomazzo (1584) which gives the names of some of the people portrayed in the guise of “barons”: Pietro Sola called Strenuus, fencing master of Ludovico il Moro, the painter and swordsman Beltramo Gariboldi and the otherwise unknown Giorgio Moro “da Ficino.”
Lomazzo also cites the figures of Heraclitus and Democritus, set above a door, the first weeping and the second laughing, as examples of representation of the “motions of the mind.” The fact that the fragment representing the two ancient philosophers was located in a different room from the Men-at-Arms, presumably that “of the school,” is confirmed by its different scale and by the testimony of Venanzio De Pagave, who at the end of the 18th century, in the manuscript of the Dialogo fra un forestiere ed un pittore che si incontrano nella basilica di San Francesco Grande in Milano (Biblioteca d’Arte del Castello Sforzesco, Milan), specifies that Heraclitus and Democritus was in another room.
The same author records the painted architecture with “spires, vases and pedestals” that framed the gigantic figures of the “barons” and which, already showing signs of wear, at the time he wrote had been plastered over and damaged by the opening of windows.
I just arrived in Saigon tonight. A friend took us to dinner and offered to buy us fruits for breakfast. We chose star apples, rose apples, lanzones, custard apples, mangosteen and the dragonfruit. Although I know these exotic pink fruits are not really that sweet, my Mom and adlaw still have not tried them. We're too tired to open them tonight. Let's see what they'll think tomorrow.
at a local night market in Saigon, Vietnam
blogged in why I am excited over Vietnam in colloidfarl.blogspot.com/
Love is a fruit in season at all times
and within reach of every hand. ~ Mother Teresa
San Pablo City
Lady buying sweet Lazones at a market stall in Bacolod City, Philippines. The exotic lanzone provides nutrients that make it a healthy treat. It is the fruit of a tree that grows throughout Southeast Asia and southern India. The fruit grows in clusters, is oval-shaped and has a gray-yellow to pale brown skin. Inside, the fruit is a translucent white and very juicy with a slightly sour, and sometimes bitter, taste.
Freshly gathered durians (yep, those thorny and pungent smelling fruit) and sweet sourish yellow lanzones (langsat) for sale at a fruit stand in Penang.
The heavy durian fruit is never plucked or harvested from the trees that bear them - when they fall to the ground, they're ripe enough for consumption. 😊👍
The family members on the right are likely visitors from out of town, who stopped by to have their fix of the King of Fruits. This spot has somewhat become a tourist trap and the fruit vendors are known to overcharge visitors by quoting prices arbitrarily.
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Bunches of unripe Langsat hanging inside the environmentally controlled Greenhouse.
Lansium parasiticum
Family Meliaceae
Whitman Pavilion, Fairchild Tropical Botanic Garden, Coral Gables, Florida, USA.
NOTE: The Scientific Name had since been changed from Lansium domesticum.
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Mostly unknown in the West, the lanzones ( Lansium domesticum Corr.) are popular all throughout Southeast Asia. Called duku in Indonesia and lang-sat in Thailand, they are an exceedingly sweet and slightly sour taste. But beware, one must be careful not to bite into the bitter seed! Export potential is limited because the fruit perishes easily after ripening and the skin exudes milky latex which is messy to the hands and lips.
The 3 most common varieties in the Philippines are "Paete", "Camiguin", and "Jolo" cultivars. Pictured here is the sweetest of them all, the Camiguin variety which comes from the island province of the same name. Note the swarm of ants partaking of the sugary nectar. That's how sweet this fruit is! Definitely one of my favorites, ranked alongside the Cebu mangoes and the durian.
from a fruit stand in Lawaan, Talisay, Cebu, the Philippines
more pics and journeys in colloidfarl.blogspot.com/
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Bunches of unripe Langsat hanging inside the environmentally controlled Greenhouse.
Lansium parasiticum
Family Meliaceae
Whitman Pavilion, Fairchild Tropical Botanic Garden, Coral Gables, Florida, USA.
NOTE: The Scientific Name had since been changed from Lansium domesticum.
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My last memory of Camiguin's White Island. This ends my Camiguin set, I really didn't want to leave but I don't want to lose my job either.
I'll definitely "come again" to Camiguin. :D Perhaps this Oct. during their Lanzones Festival.
Robert Weingarten 8/14 2003 40x40
Signed and Numbered 4/10
The artist’s work is included in a number of permanent collections including the George Eastman House, the J. Paul Getty Museum, the Los Angeles County Museum of Art, The Metropolitan Museum of Art and the Whitney Museum of American Art. He holds the distinction Fellow of the Royal Photographic Society and has been the recipient of several awards in photography. Robert Weingarten’s work is the subject of numerous of monographs and publications, including the 2004 Steidl book Another America: A Testimonial to the Amish.
Selected Collections
American University Museum at the Katzen Arts Center, Washington, DC. Center for Creative Photography, Tucson, AZ.
Center for Photographic Art, Carmel, CA.
Corcoran Gallery of Art, Washington DC.
Denver Art Museum, Denver, CO.
Farnsworth Art Museum, Rockland, ME.
Fernbank Museum of Natural History, Atlanta, GA.
Frederick R. Weisman Museum of Art, Malibu, CA.
Frye Art Museum, Seattle, WA.
The George Bush Presidential Library and Museum, Dallas, TX.
George Eastman House, International Museum of Photography and Film, Rochester, NY.
High Museum of Art, Atlanta, GA.
The Huntington, Library, Art Collections, and Botanical Gardens, San Marino, CA.
J. Paul Getty Museum, Los Angeles, CA.
Los Angeles County Museum of Art, (LACMA), Los Angeles, CA.
The Metropolitan Museum of Art, New York, NY.
Monterey Museum of Art, Monterey, CA.
El Museo de Arte Contemporáneo (Conde Duque, Madrid). Spain.
National Gallery of Australia, Canberra, Australia.
National Gallery, Washington D.C.
Norton Museum of Art, West Palm Beach FLA.
The Contemporary Museum, Honolulu, Hawaii.
The Museum of Contemporary Art, (MOCA), Los Angeles, CA.
The Minneapolis Institute of Art, Minneapolis, MN.
The Museum of Fine Art Florida, (MofA), Tallahassee, Florida.
The Museum of Fine Arts, Boston, MA.
The Museum of Fine Arts, Houston, Texas. The Museum of Tolerance, Los Angeles, CA.
Museum of Photographic Arts, San Diego, CA.
(The) POLIN Museum of Art, Warsaw, Poland.
Museum of Tolerance, Los Angeles, CA. Pollock-Krasner House and Study Center, East Hampton, NY. The Peabody Essex Museum, Salem MA. Santa Barbara Museum of Art, Santa Barbara, CA. Smithsonian Institution, National Museum of American History, Photographic History Collection. Smithsonian Institution, National Portrait Gallery, Washington, DC. Tel Aviv Museum of Art, Tel Aviv, Israel. Whitney Museum of American Arts, New York, NY. The Ansel Adams Home in Carmel, CA. The Edward Weston Home "Wildcat" in Carmel, CA. Numerous Corporate & Individual Collections Worldwide.
Awards and Achievements
2001 Awarded the distinction Fellow of the Royal Photographic Society (FRPS), Bath, England.
2000 Awarded the Silver Medal for the Royal Photographic Society’s 143rd International Print Competition, Bath, England.
1999 Awarded the distinction Associate of the Royal Photographic Society (ARPS), Bath, England.
1997 Awarded the distinction Licentiateship of the Royal Photographic Society (LRPS), Bath, England.
Exhibitions
2018
Solo Exhibition, 6:30A.M. Series, Mary Ryan Gallery, New York, NY. Solo Exhibition, 6:30A.M. Series, “Focus on Infinity”, Los Angeles Public Library, Los Angeles, CA. Solo Exhibition, “Pentimento”, The Dortort Center for Creativity in the Arts, Hillel, UCLA, Los Angeles, CA.
Exhibition, “California Nature”, Fresno Art Museum, Fresno, CA.
2017
Exhibition, “Wooster Wild Style Wall”, Gallery 151, New York, NY.
2015
Exhibition, “Ansel Adams-Before and After”, Booth Western Art Museum, Cartersville, GA.
Exhibition, “California Light”, Descanso Gardens, Sturt Haaga Gallery, La Cañada, CA.
Solo Exhibition, “Pentimento Series”, Marlborough Gallery, New York, NY.
2014
Exhibition, “Western American Art South of the Sweet Tea Line IV Exhibit”, Booth Western Art Museum, Cartersville, GA.
Solo Exhibition, “Living Legends” The Montage Portraits of Robert Weingarten. Norton Museum of Art, Palm Beach, Florida.
Solo Exhibition, “Another America” a Testimonial to the Amish, George Eastman House, International Museum of Photography and Film, Rochester, NY.
Solo Exhibition, “6:30A.M. Series”, Peabody Essex Museum, Salem, MA.
Solo Exhibition, “Pentimento Series”, Craig Krull Gallery, Santa Monica, CA.
2012
Solo Exhibition, “Pushing Boundaries: Portraits by Robert Weingarten”,
Smithsonian Institution, International Gallery, S. Dillon Ripley Center, Washington, D.C.
2011
Exhibition, “In Focus: The Sky”, J. Paul Getty Museum, Los Angeles, CA.
Solo Exhibition, “Portraits Without People” Marlborough Gallery, New York, NY.
Exhibition, “Adams & Weston and the Masters of California Photography”, Monterey Museum of Art, CA.
Exhibition, "Face to Face”, 150 Years of Photographic Portraiture, Center for Creative Photography, Phoenix, AZ.
Exhibition,“Skydreamers”, Autry National Center, Los Angeles, CA.
Solo Exhibition, “Portraits Without People” Craig Krull Gallery, Santa Monica, CA.
Exhibition, “Distilled Moments”, Santa Barbara Museum of Art, Santa Barbara, CA.
Exhibition, “New Faces” of the Collection, Santa Barbara Museum of Art, Santa Barbara, CA.
Exhibition, “Lift Off”, Rutgers University, Newark, NJ.
2010
Solo Exhibition, “The Portrait Unbound; Photographs by Robert Weingarten”, High Museum of Art, Atlanta, GA.
Solo Exhibition, “Robert Weingarten Retrospective”, Lumière, Atlanta, GA.
Exhibition, “Exposing Time”, Phoenix Art Museum /Center for Creative Photography, Phoenix, Arizona.
2009
Exhibition,” This side of Paradise: Body and Landscape in Los Angeles Photographs”, Musée L’Elysee, Lausanne, Switzerland.
Solo Exhibition, “Palette Series”, Springfield Art Museum, Springfield, MO.
Exhibition, “Paris and Pinpoints”, Benham Gallery, Seattle, WA.
2008
Solo Exhibition, “Palette Series”, Galería Marlborough, Madrid, Spain.
Exhibition, “This side of Paradise: Body and Landscape in Los Angeles Photographs”, The Huntington Library, San Marino, CA.
Solo Exhibition, Benham Gallery, Seattle, WA.
Exhibition, “Picturing the Process: Landscapes Through Time and Space”, Museum of Photographic Arts, San Diego, CA.
2007
Solo Exhibition, “Palette Series", Lumière, Atlanta, GA.
Exhibition, “20/20 Vision", Center for Photographic Art, Carmel, CA.
Solo Exhibition, “Palette Series”, Craig Krull Gallery, Santa Monica, CA.
Exhibition, “Recent Acquisitions”, Permanent Collection, Monterey Museum of Art, Monterey, CA.
Exhibition, “Summer Exhibition”, Marlborough Gallery, New York, NY.
Exhibition, “A View Within”: Selections from the Permanent Collection of the Frederick R. Weisman Museum of Art.
2006
Solo Exhibition, “Palette Series”, The Corcoran Gallery of Art, Washington, DC.
Solo Exhibition, “6:30 A.M.”, George Eastman House, International Museum of Photography and Film, Rochester, NY.
Solo Exhibition, “Palette Series” Marlborough Gallery, New York,
Solo Exhibition, “6:30 A.M.” The Philbrook Museum of Art, Tulsa, OK.
Solo Exhibition, “Palette Series: Artifacts”, Weston Gallery Carmel, CA.
Exhibition, “Right Here, Right Now - Contemporary Art from the Marlborough Gallery, NY”,
Exhibition, “Palette Series: Pensacola Museum of Art, Pensacola, FL.
Solo Exhibition, “Another America”, Cal State University, Todd Madigan Gallery, Bakersfield, CA.
2005
Solo Exhibition, “6:30 A.M.”, Marlborough Gallery, New York, NY.
Solo Exhibition, “6:30 A.M.”, Frederick R. Weisman Museum of Art, Malibu, CA. Solo Exhibition, “Landscape • Cityscape”, Marlborough Gallery, New York, NY.
Exhibition, “Minimalist Visions”, Weston Gallery, Carmel, CA.
2004
Solo Exhibition, “6:30 A.M.”, Craig Krull Gallery, Santa Monica, CA
Solo Exhibition, “6:30 A.M.”, Museum of Photographic Arts, San Diego CA.
Solo Exhibition, “Another America”, Museum of Photographic Arts, San Diego CA.
Exhibition, "Wanderers, Travelers & Adventurers", Museum of Photographic Arts, San Diego, CA.
Solo Exhibition, "6:30 Series", Santa Barbara Museum of Art, CA.
2003
Exhibition, "International Annual Center Awards", Center for Photographic Art, Carmel, CA.
Exhibition, "Ansel Adams and His Legacy", High Museum of Art, Atlanta, GA.
Exhibition, "California Color", Santa Barbara Museum of Art.
Solo Exhibition, "Landscape As Symphony", Sidney Mishkin Gallery, Baruch College, NY.
Exhibition, "Rhythm and Color in the Landscape", Benham Gallery, Seattle, WA.
2002
Solo Exhibition, "Landscape As Symphony", Edward Carter Gallery, New York, NY.
Exhibition, "Inner Light", The Frederick R. Weisman Museum of Art, Malibu, CA.
Exhibition, "Colour & Concept", National Gallery of Australia.
Exhibition, "International Annual Center Awards", Center for Photographic Art, Carmel, CA.
Solo Exhibition, Benham Gallery, Seattle, WA.
Exhibition, "Traveling Light", Museum of Photographic Arts, San Diego, CA.
Solo Exhibition, McLean Gallery, Malibu, CA.
Solo Exhibition, Craig Krull Gallery, Santa Monica, CA.
2001
Solo Exhibition, "The pastoral Landscape", Weston Gallery, Carmel, CA.
Solo Exhibition, “Intimate Vision”, Howard Schickler Gallery, New York, NY.
Exhibition, “Water Forms” Galleries of Mumm, Napa Valley, CA.
Solo Exhibition, Ansel Adams Gallery, Monterey, CA.
2000
Exhibition, “10th International Annual Center Awards”, Center for Photographic Art, Carmel, CA.
Solo Exhibition, “American Landscape”, McLean Gallery, Malibu, CA.
Exhibition, “Trees” HBO/Time Warner Gallery, New York, NY.
Exhibition, “Intimate Landscapes”, Tacoma Art Museum, Tacoma, WA.
Solo Exhibition, “Quietscapes", Henry Street Settlement, Abrons Art Center, New York, NY.
Exhibition, "143rd International Print Exhibition", Royal Photographic Society, Octagon Galleries, Bath, England.
Exhibition, "Five Person Show, LACMA Rental and Sales Gallery, Los Angeles, CA.
Exhibition, “It’s About Time,” Riverside Art Museum, Riverside, CA.
1999
Exhibition, “Earthscapes: Charlie Waite and Robert Weingarten,” Center for Photographic Art, Carmel, CA.
Exhibition, “Americans in Spain,” Paula Vincenti Gallery, Marbella, Spain.
Exhibition, “Moving Towards the Millennium,” Barnsdall Art Center, Los Angeles, CA.
Solo Exhibition, “Paintings…Through a Lens”, McLean Gallery, Malibu, CA.
Exhibition, “25 Years of Photography,” CEPA Gallery, Buffalo, NY.
Exhibition, “International Landscapes,” Mall Gallery, London, England.
Exhibition, :Artists Council 30th Annual National Juried Exhibition", Palm Springs Desert Museum, CA.
Solo Exhibition, “Quietscapes”, Mayer, Brown & Platt, New York, NY.
Solo Exhibition, “Quietscapes”, Sylvia White Gallery, New York, NY.
1998
Solo Exhibition, “Quietscapes”, Sylvia White Gallery, Los Angeles, CA.
Exhibition, “The Horse Show: Images of the Horse in Contemporary Art,” Sylvia White Gallery, LA, CA.
Exhibition, "16th Annual September Competition", Alexandria Museum of Art, Alexandria, Louisiana.
Solo Exhibition “Quietscapes,” McLean Gallery, Malibu, CA.
Exhibition, Sylvia White Gallery, Los Angeles, CA.
Exhibition, “Light is Diverse in California,” Center for the Visual Arts Gallery, Oakland, CA.
Exhibition, “Realism 1998,” Stage Gallery, Merrick, NY.
1997
Exhibition, "European Landscape Photography", Christie’s, London, England.
Lectures
2019
“Pentimento Series”, Master Class to MFA students at Claremont Graduate University of Art. Los Angeles, CA.
2018
Pentimento Series interview by Howard Fox, UCLA, The Dortort Center for Creativity in the Arts, Los Angeles, California USA.
2014
From Film Fidelity to Digital Metaphor, PEM Peabody Essex Museum, Salem, Massachusetts, USA.
Another America: A Testimonial to the Amish, George Eastman House, Rochester, New York, USA.
2012
Pushing Boundaries, S. Dillon Ripley Center, Smithsonian Institution, Washington, DC, USA.
2011
Robert Weingarten: From Film Fidelity to Digital Metaphor, Santa Barbara Museum of Art, Santa Barbara, California, USA.
2010
My Journey From Film Fidelity to Digital Metaphor, J. Paul Getty Museum, Los Angeles, California, USA.
2009
Artist talk, School of Art, San Diego University, San Diego, California, USA.
Artist talk on "The Portrait Unbound", Bergamot Station, Santa Monica, California, USA.
2008
Artist talk on "Landscapes," "Another America," "6:30 A.M." and "Palettes" series, Todd Madigan Gallery, California State University at Bakersfield, Bakersfield, California, USA.
2007
Artist talk on "Landscapes," "6:30 A.M.," "Palettes" and "Portraits Without People" series, Photo LA, Los Angeles, California, USA.
2007
Artist talk on "Landscapes," "Another America," "6:30 A.M." and "Portraits without People" series, Atlanta History Center, Atlanta, Georgia, USA.
2006
Artist talk on "Landscapes," "6:30 A.M." and "Palettes" series, Philbrook Museum of Art, Tulsa, Oklahoma, USA.
Artist talk on "Landscapes," "Another America," "6:30 A.M." and "Palettes" series, George Eastman House, Rochester, New York, USA.
2004
Artist talk on "Another America" and "6:30 A.M.", Museum of Photographic Art, San Diego, California, USA.
Catalogues and Monographs
2011 Thomas Perich, Shannon . "The Changing Face of Portrait Photography, From Daguerreotype to Digital" . Washington, D.C.: Smithsonian Books.
2011 Marlborough Inc.. Robert Weingarten: Portraits without People. New York: Marlborough Chelsea.
2009 Cox, Julian, Curator. The Portrait Unbound. Atlanta: The High Museum.
2008 Castellote, Alejandro . Paletas de Artistas (Serie). Madrid: Galería Marlborough.
2006 Lanzone, Dale. Palette Series. New York: Marlborough Chelsea.
2005 Weingarten, Robert. 6:30 A.M. Berlin: Hatje Cantz Verlag.
2004 Weingarten, Robert. Another America: A Testimonial to the Amish. Göttingen: Steidl Publishing.
1999 High, Dennis. Earthscapes. Carmel: Center for Photographic Art.
1999 Gallery. Americans in Spain. New York: Paula Vincenti Gallery and Sylvia White Gallery.
Bibliography
David Van Reybrouk, “ODES”, Poetry. ODE AAN DE LENTE, pg 42. Jackson Pollock #2, 2007 photo on pg 47. Olson, Katelyn, “Past bleeds into present in Hillel at UCLA’s newest art exhibits”, Hillel at UCLA’s Winter 2018, January 23, 2018. 2nd Hanna S. Barsam Photography Invitational, illustrated catalog, Fresno Art Museum, Fresno, CA. January 26, 2018. Gallery 151, illustrated sales kit for “Decade” anniversary “Wooster Wild Wall” exhibition. New York, NY, November 2016 – January 2017. “Overnight Ink” Poetry compilation. Book cover 6:30A.M. #77. Tokyo, Japan, 2016. Acquisition Highlights, illustrated catalog. George Eastman Museum, Rochester, NY, July 2015. Pentimento Series, illustrated exhibition catalog. Essay by: Colin Westerbeck. Marlborough Gallery, New York, NY, January 2015. Richard, Andrea "At the Norton: Robert Weingarten's Unusual "Portraits" of Don Shula, Sonia Sotomayor, and More. Broward/Palm Beach New Times, Art. August 29th, 2014.
Sjostrom, Jan, "Complex Portraits: Photographer Depicts Celebs without Using Faces", Palm Beach Daily News, Arts, Local, August 10, 2014.
Thomason, John, "Portraiture as you've never seen it before", Boca Raton Magazine, Arts. August, 8th, 2014.
Calder, Diane, "Pentimento Series" at Craig Krull Gallery, ArtScene, July/August 2014. Pg. 20 & 21.
Bielak, Jessica, “Face Off”, Palm Beach Illustrated, Agenda. July/August 2014.
Entertainment Life, "Meditations on California Skyline" July, 31, 2014.
Valys, Phillip, “Legends Live on in Art” South Florida Sun Sentinel, July 13, 2014. Lifestyles 2G.
De Palma, Donna, "A Simpler Life" Democrat & Chronicle, March 9, 2014. Pg., 1C, RocArts and pg., 5C, Arts.
O’Sullivan Michael, “Don’t Miss”, Museums openings, The Washington Post, June 29th, 2012, weekend section.
Shannon Thomas Perich, Smithsonian Books, "The Changing Face of Portrait Photography, From Daguerreotype to Digital" 2011. Chapter 10, pg. 138-149.
Paul Sisolak, “Portraits of another matter”, The Malibu Times, May 5, 2011, Malibu Life, Section B.
Jeff Kent, “The Portrait Unbound” Professional Photographer, June 2010, pg. 24.
Richard Nilsen, “Exhibit displays powerful photos of time in motion” The Arizona Republic. March 28th, 2010.
Hillary M. Sheets, “A Few of Their Favorites Things”. ARTnews, Art Talk, March 2010, pg 32.
The Portrait Unbound, The High Museum, Atlanta, GA, 2009. Essay by Julian Cox, Curator.
Camille Howell Dautrich, “These Sunflowers Bloom in Different Way”, Springfield News-Leader. Pg 3C-4C, October 2009.
417 Magazine, “Robert Weingarten, The Palette Series”. September 2009.
Daylight & Architecture magazine by Velux. 6:30A.M Series pp. 34-35. Issue 9 autumn 2008.
Jennifer A. Watts, Claudia Bohn-Spector, Douglas R. Nickel. “This side of Paradise: Body and Landscape in Los Angeles Photographs”, June 2008, pp 228-229.
José Manuel Ibáñez. “Exploración de la Luz”. Mucho Viaje No 36. Pistas/Exposiciones May 2008.
Carlos García-Osuma. “Las Paletas de los Artistas”. La Vanguardia / Exposiciones. May 4, 2008.
Fernando Castro Florez. “El Lugar de Todas las Mezclas” Descubrir el Arte magazine No 111 May 2008. Agenda Arte Exposiciones.
Arte y Parte “Robert Weingarten” Revista de Arte No 74 April 2008, pp. 97.
C. de A., El Punto de las Artes “Robert Weingarten. Palette Series” April 29th 2008.
Introduction by Alejandro Castellote., Paletas de Artistas (Serie), illustrated exhibition catalog, Galería Marlborough, Madrid April 2008.
Benjamin Epstein, Where Guest Book Los Angeles “Waking State”. January 2008, pp. 30-38.
Kim Beil. “In Pursuit of Perception”. Art Ltd. West Coast Art + Design May 2007, pp. 36.
Nash Editions “Photography and the Art of Digital Printing” Graham Nash, introduction, essays by Richard Benson, R. Mac Holbert, Henry Wilhelm and edited by Garrett White. New Riders, Voices that Matter, January 2007.
O’Sullivan Michael. “Capturing the Many Hues of Creativity.” The Washington Post July 28, 2006, Weekend, pp. 23.
Watts Jr., James D. “An ever-changing landscape.” Tulsa World, June, 4, 2006, pp H5.
Stewart Smith, Joan. “Epson Prints Bring California to Wintry Upstate New York”, “Robert Weingarten’s “6:30 a.m.” at George Eastman House.” Epson Website, March 2006.
Palette Series, illustrated exhibition catalog. Introduction: Interview by Dale Lanzone., Marlborough Chelsea, New York, NY March 2006.
Gantenbein, Douglas. “Film Photography Fades to Black” The Wall Street Journal, March 14, 2006, pp. D8.
Tobin, Jacqueline. “Rise and Shine.” Photo District News, February 2006, pp.134-136.
Kennedy, Randy. “California Dreaming on Such a Winter’s Day.” The New York Times, January 12, 2006, pp. E1, E7.
Sugarman, Martin. “6:30 AM by Robert Weingarten”, H2O, 2006 (book review).
American Photo, “Bay Light”, January 2006.
Weingarten, Robert, 6:30 A.M, Germany: Hatje Cantz Verlag, 2005.
Looking at Los Angeles, New York: Metropolis Books/D.A.P., 2005.
“Testimonial to the Amish”, LensWork, January-February 2005, pp. 10-27.
Harris, Jane, “Robert Weingarten.” The Village Voice, May 18-24, 2005 p. 84.
Another America: A Testimonial to the Amish. Germany: Steidl Publishing, 2004.
Pincus, Robert L. “For Robert Weingarten, a pair of themes inspires beautiful images.” The San Diego Union-Tribune, June 13, 2004, pp. F1, F4, F5.
"Landscape as Symphony", Camera Arts, April - May 2002.
Royal Photographic Society Journal, 143rd International Print Competition Award Winning Images, Bath, England, May and June 2000.
Earthscapes, Introduction by Dennis High, Center for Photographic Art: Carmel, CA, November 1999 illustrated (exhibition catalog).
Americans in Spain, Paula Vincenti Gallery, Marbella, Spain and Sylvia White Gallery, New York, NY September 1999, illustrated (exhibition catalog).
at the Banilad fruit stand, Cebu City, the Philippines.
Nitzi is reaching out for the exotic marang fruit. In the foreground are red mangoes, rambutan, lanzones and the famous Cebu mangoes. Behind her are bananas, green mangoes, oranges, melons and mangosteen. The popular stalls are open until the wee hours of the morning.
why Cebu mangoes are the finest in colloidfarl.blogspot.com/
© Project by Studio 3 Ballet. All Right Reserved. Photographer Stefano Lanzone. See more at termolidancephotoproject.com
Felix Resurreccion Hidalgo (1855-1913): La Inocencia
signed and dated 1901 (lower right)
oil on canvas
46” x 32” (117 cm x 81 cm)
Isabelo Tampinco designed the painting's frame with supple, curling lily pads with upturned edges, an allusion to Ophelia and Romantic poetry - LGN
Opening bid: P 10,000,000
Exhibited:
Leon Gallery, TWO NAVELS: LEON CURATED AUCTION, Makati City, Philippines, 3-10 September 2016
Literature:
Roces, Alfredo, Felix Resurreccion Hidalgo & The Generation of 1872, Eugenio Lopez Foundation Inc., Pasig City, 1998, p. 174- 175 (illustrated) Lory-vi B. Valdes et. al., Primos Unidos: Pasos del Tiempo (Cuarto Tomo), The TLC Book Company Limited, Philippines, 2007, p. 221-222 (illustrated)
Ramon N. Villegas & Lisa Guerrero Nakpil, TWO NAVELS: LEON CURATED AUCTION, Leon Gallery, Makati City, 2016, p. 12-17 (illustrated)
Lot 89 of the Leon Gallery auction on 3 December 2016. Please see www.leon-gallery.com for details.
Provenance:
by Augusto “Toto” M R Gonzalez III
“La Inocencia,” a beautiful young lady painted by Felix Resurreccion Hidalgo y Padilla in Paris in 1901, harks back to the happiest years of the affluent and elegant Filipino painter who had fallen in love with his Spanish model Maria Yrritia. He brought her all the way to Manila to meet his aristocratic mother and family. Predictably, Maria Yrritia’s modest origins met with stern disapproval from the superrich Barbara Padilla de Resurreccion Hidalgo — “the Queen of the Pasig River” as she owned the biggest fleet of “cascos” trading barges and a succession of warehouses that lined the river in Binondo and Tondo; it was a shipping and real estate fortune inherited from her father Narciso Padilla. Embittered, the couple returned to Spain and Felix never returned to his family and homeland. When he died, Maria Yrritia accompanied his remains and belongings back to Manila. She boarded a ship bound for Spain but never made it back as the ship sunk off South Africa.
“La Inocencia” was acquired by Felix Hidalgo’s friend, contemporary, and neighbor Benito Cosme Legarda y Tuason and his wife Teresa de la Paz viuda de Severo Tuason. It was for many years the cynosure of the large “sala” of “La Casa Grande,” their storied residence at # 964 R Hidalgo street (formerly Calle San Sebastian) in Manila; hung on the other walls were more paintings by Felix Resurreccion Hidalgo y Padilla, Juan Luna y Novicio, and the other notable painters of the day. The imposing “bahay-na-bato” was constructed by the Conde de Aviles on Calle San Sebastian in the 1850s. In those days, the Palacio de Malacanan was in a constant state of disrepair, so it was at the palatial and elegant “La Casa Grande” that the Spanish Governor-Generals entertained visiting royalty and aristocracy like the Duke of Edinburgh in 1869 and King Norodom I of Cambodia in 1872.
“La Casa Grande” was purchased by the newlywed couple Benito Cosme Legarda y Tuason and Teresa de la Paz viuda de Tuason in 1876. Benito Legarda was a lawyer, the son of the Basque Benito Legarda y Lerma and the Filipina-Chinese heiress Cirila Magdalena Tuason of the famed landowning family. Benito Legarda later became a member of the cabinet of General Emilio Aguinaldo, the Vice-President of the Malolos Congress, and the Director of the Treasury; he became a member of the Philippine Commission in 1901 and co-founded the “Partido Federalista” with Trinidad H Pardo de Tavera. Teresa de la Paz was the young widow of Jose Severo Tuason, the fourth Lord of the Tuason “mayorazgo,” the only Filipino-Chinese family raised to the “hidalguia” nobility in Spain. Their patriarch Antonio Maria Tuason was of great assistance to the Spanish military forces during the British Occupation from 1762-64 and was subsequently ennobled by Spain. It was at “La Casa Grande” that they raised their three children Consuelo, Benito III, and Rita. Benito III “Bitong” married Filomena “Menang” Roces y Gonzalez; Consuelo “Titang” married Mauro Prieto y Gorricho; and Rita “Chata” married 1) L James Donaldson-Sim 2) Dr Benito Valdes y Salvador, thus completing the interrelations of four of Old Manila’s most prominent families, the Tuason-Legarda-Prieto Valdes clan.
Benito III “Bitong” Legarda y de la Paz married Filomena “Menang” Roces y Gonzalez and had seven children: Benito IV “Ben” married Trinidad "Trining"Fernandez; Rosario “Bombona” married Dr Basilio Valdes; Dr Alejandro “Mandu” married 1) Carmen Tuason 2) Ramona “Moning” Hernandez; Teresa “Titic”; Filomena “Filomenita”; Beatriz "Botones" married Alfredo “Pocholo” Gonzales; Jose “Pepito” married Rosario “Charito” Lobregat.
“La Inocencia” by Felix Resurreccion Hidalgo y Padilla devolved to the family of Benito “Bitong” Legarda y de la Paz and Filomena “Nena” Roces y Gonzalez. It passed on to his son Dr Alejandro “Mandu” Legarda y Roces married to 1) Carmen Tuason 2) Ramona Hernandez. Dr Alejandro “Mandu” installed it in the living room of his 1938 Andres Luna de San Pedro designed Art Deco style house at # 315 San Rafael street, San Miguel, Manila.
(For some fifteen years from 2000-2015, much of Manila admired “La Inocencia” during their memorable lunches and dinners at the much-loved and acclaimed “La Cocina de Tita Moning” at the Legarda-Hernandez residence managed by granddaughter Suzette Legarda Montinola.)
About “La Inocencia” : Who is “La Inocencia”?
by Lisa Guerrero Nakpil
Unlike his contemporary and sometime arch-rival Juan Luna y Novicio, Felix Resurreccion Hidalgo y Padilla was reputed to paint the same woman over and over again. Luna reveled in capturing the likenesses of different women, from petulant gypsies to elegant marquesas. He painted women, young and old, chulas, matrons, pretty Parisiennes perched in cafés to the ice-y daughters of Spanish grandees and governor-generals at the opera. He painted his fiancees, of no matter how short a period, and his first (and last) wife. He is even suspected of painting a private, very personal portrait of Queen Regent Cristina, of whom he made various official portraits that still hang in Spanish local museums.
Resurreccion Hidalgo, on the other hand, seems to have been imprinted with his long-time model and companion of a lifetime, Maria Yritia. He is, incidentally, not famous for the portraits he accomplished but rather his alndscapes and multiple allegorical works, choosing instead to situate his female subjects — and they are all thought to be Yrritia — in moonlit forests or by the sea (The moon and water were both favorite themes of his.)
Maria Yrritia has been described as a “French woman”, which would then place her in Paris around 1884 when Resurreccion Hidalgo first moved to that city. Her name, however, is redolent of the Basque country in northern Spain which sits very close to border of France, so she may indeed have begun her relationship with Resurreccion Hidalgo while he was in Madrid, where he arrived in 1879. He never gave her up, although he never married her.
There is a portrait entitled, “En El Jardin” (In the Garden), at the Lopez Memorial Museum, dated 1885. It pre-dates “La Inocencia”, painted in 1901, by 16 years, and appears to be the same dark-haired beauty with rounded eyebrows and slightly pursed lips. Could “La Inocencia”, as poetically described by its title, be an idealized, younger version of La Yrritia, pictured in a Parisian garden?
Art historian Ramon N. Villegas has been quoted as saying that Maria Yrritia was a blonde, based on the few remaining photographs of her extant. He describes the young woman in “La Inocencia” as “coltish and almost Celtic” but does see a common “Lolita-ilke” air between the two works. Villegas prefers to subscribe to the idea that she is a composite of the various European nymphs of the period, of which they were a favorite romantic idiom.
The identity of “La Inocencia” will no doubt remain a mystery for generations to come, as ethereal as her beauty, but what is certain is that this is a work of eternal magnificence.
FÉLIX RESURRECCIÓN Hidalgo Y PADILLA (February 21, 1855 – March 13, 1913) is hailed as one of the great Filipino master painters of the late 19th century. Hidalgo was born to wealth and privilege in Binondo, Manila to Eduardo Resurrección Hidalgo and Maria Barbara Padilla. Félix was educated at the University of Santo Tomas. He studied law, which he never finished, receiving a bachelor’s degree in philosophy. He was simultaneously enrolled at Manila’s art academy, the Escuela de Dibujo y Pintura.
In 1876, he showed his “La banca” (The Native Boat), “Vendedora de lanzones” (Lanzones Vendor) and other paintings at the Teatro Circo de Bilibid in Manila, before they were sent to the United States Centennial Exposition that year in Philadelphia. It was in that exposition that Simon Flores y de la Rosa’s work “La Orquestra” (The Orchestra) was awarded a silver medal, the first time a Filipino work gained international recognition.
In 1877, Resurrección Hidalgo was awarded second place in the contest for best cover design for the deluxe edition of Fr. Manuel Blanco’s “Flora de Filipinas” (Plants of the Philippines). In 1878, he painted the expressive “Los mendigos” (The Beggars.) In 1879, Hidalgo left for Spain as the Ayuntamiento of Manila’s pensionado or government scholar in fine arts. In Madrid, he studied at the Real Academia de Bellas Artes.
Together with Juan Luna y Novicio, Hidalgo inspired members of the Philippine reform movement which included José Rizal, Marcelo del Pilar, Mariano Ponce and Graciano López Jaena, and the other Filipino expatriates in Europe.
Luna garnered a gold medal, and Hidalgo a silver medal in the 1884 MadridE xposition of Fine Arts prompting Rizal to toast the two painters’ good health and citing their win as evidence that Filipinos and Spaniards were equals.
Hidalgo’s winning piece was “Las virgenes Cristianas expuestas alpopulacho” (The Christian Virgins Exposed to the Populace), The painting, now part of the Bangko Sentral ng Pilipinas art collection, shows a group of men mocking nearly naked female Christians martyrs, one of whom is seated in the foreground, head bowed in misery.
At the Exposición General de las Islas Filipinas in Madrid in 1887, organized by the Spanish Overseas Ministry, Hidalgo exhibited two major works. These were “La barca de Aqueronte” (The Boat of Charon), 1887, and “Laguna estigia” (The Styx), 1887, for which he received a gold medal. “La barca” was again shown at the Exposition Universelle in Paris and was awarded a silver medal by an international jury. In 1891 it was accorded a diploma of honor at the Exposición General de Bellas Artes of Barcelona. This painting also received a gold medal in the International Exposition of Fine Arts in Madrid during the commemoration of the 400th anniversary of the discovery of America.
Hidalgo exhibited “Adios al sol” (Farewell to the Sun), 1891 at the Exposición Internacional de Bellas Artes in Madrid in that year and “El crepusculo” (“The Dawn”), 1893, at the Universal Exposition in Chicago, also in that year. He showed both paintings again at the Exposición Artistica de Bilbao in August 1894. At the Exposición Regional de Filipinas in Manila in January 1895, Hidalgo showed his paintings although he did not come home. Perhaps he did not do so because he was preparing “Oedipus y Antigone” (Oedipus and Antigone), “El violinista” (The Violinist), and other works for exhibition at the Salon at Champs-Elysées, Paris. Hidalgo received a gold medal for his overall participation at the Universal Exposition in St. Louis, Missouri in 1904. His “El violinista” was accorded a gold medal.
In 1912, he finally visited Manila after 30 years upon his mother’s request. She had wanted him to be with her in her last days buta fter six months he went back to Paris. The following year, Resurrección Hidalgo died in Barcelona.
-- Ramon N. Villegas
Felix Resurreccion Hidalgo (1855-1913): La Inocencia
signed and dated 1901 (lower right)
oil on canvas
46” x 32” (117 cm x 81 cm)
Opening bid: P 10,000,000
Exhibited:
Leon Gallery, TWO NAVELS: LEON CURATED AUCTION, Makati City, Philippines, 3-10 September 2016
Literature:
Roces, Alfredo, Felix Resurreccion Hidalgo & The Generation of 1872, Eugenio Lopez Foundation Inc., Pasig City, 1998, p. 174- 175 (illustrated) Lory-vi B. Valdes et. al., Primos Unidos: Pasos del Tiempo (Cuarto Tomo), The TLC Book Company Limited, Philippines, 2007, p. 221-222 (illustrated)
Ramon N. Villegas & Lisa Guerrero Nakpil, TWO NAVELS: LEON CURATED AUCTION, Leon Gallery, Makati City, 2016, p. 12-17 (illustrated)
Lot 89 of the Leon Gallery auction on 3 December 2016. Please see www.leon-gallery.com for details.
Provenance:
by Augusto “Toto” M R Gonzalez III
“La Inocencia,” a beautiful young lady painted by Felix Resurreccion Hidalgo y Padilla in Paris in 1901, harks back to the happiest years of the affluent and elegant Filipino painter who had fallen in love with his Spanish model Maria Yrritia. He brought her all the way to Manila to meet his aristocratic mother and family. Predictably, Maria Yrritia’s modest origins met with stern disapproval from the superrich Barbara Padilla de Resurreccion Hidalgo — “the Queen of the Pasig River” as she owned the biggest fleet of “cascos” trading barges and a succession of warehouses that lined the river in Binondo and Tondo; it was a shipping and real estate fortune inherited from her father Narciso Padilla. Embittered, the couple returned to Spain and Felix never returned to his family and homeland. When he died, Maria Yrritia accompanied his remains and belongings back to Manila. She boarded a ship bound for Spain but never made it back as the ship sunk off South Africa.
“La Inocencia” was acquired by Felix Hidalgo’s friend, contemporary, and neighbor Benito Cosme Legarda y Tuason and his wife Teresa de la Paz viuda de Severo Tuason. It was for many years the cynosure of the large “sala” of “La Casa Grande,” their storied residence at # 964 R Hidalgo street (formerly Calle San Sebastian) in Manila; hung on the other walls were more paintings by Felix Resurreccion Hidalgo y Padilla, Juan Luna y Novicio, and the other notable painters of the day. The imposing “bahay-na-bato” was constructed by the Conde de Aviles on Calle San Sebastian in the 1850s. In those days, the Palacio de Malacanan was in a constant state of disrepair, so it was at the palatial and elegant “La Casa Grande” that the Spanish Governor-Generals entertained visiting royalty and aristocracy like the Duke of Edinburgh in 1869 and King Norodom I of Cambodia in 1872.
“La Casa Grande” was purchased by the newlywed couple Benito Cosme Legarda y Tuason and Teresa de la Paz viuda de Tuason in 1876. Benito Legarda was a lawyer, the son of the Basque Benito Legarda y Lerma and the Filipina-Chinese heiress Cirila Magdalena Tuason of the famed landowning family. Benito Legarda later became a member of the cabinet of General Emilio Aguinaldo, the Vice-President of the Malolos Congress, and the Director of the Treasury; he became a member of the Philippine Commission in 1901 and co-founded the “Partido Federalista” with Trinidad H Pardo de Tavera. Teresa de la Paz was the young widow of Jose Severo Tuason, the fourth Lord of the Tuason “mayorazgo,” the only Filipino-Chinese family raised to the “hidalguia” nobility in Spain. Their patriarch Antonio Maria Tuason was of great assistance to the Spanish military forces during the British Occupation from 1762-64 and was subsequently ennobled by Spain. It was at “La Casa Grande” that they raised their three children Consuelo, Benito III, and Rita. Benito III “Bitong” married Filomena “Menang” Roces y Gonzalez; Consuelo “Titang” married Mauro Prieto y Gorricho; and Rita “Chata” married 1) L James Donaldson-Sim 2) Dr Benito Valdes y Salvador, thus completing the interrelations of four of Old Manila’s most prominent families, the Tuason-Legarda-Prieto Valdes clan.
Benito III “Bitong” Legarda y de la Paz married Filomena “Menang” Roces y Gonzalez and had seven children: Benito IV “Ben” married Trinidad "Trining"Fernandez; Rosario “Bombona” married Dr Basilio Valdes; Dr Alejandro “Mandu” married 1) Carmen Tuason 2) Ramona “Moning” Hernandez; Teresa “Titic”; Filomena “Filomenita”; Beatriz "Botones" married Alfredo “Pocholo” Gonzales; Jose “Pepito” married Rosario “Charito” Lobregat.
“La Inocencia” by Felix Resurreccion Hidalgo y Padilla devolved to the family of Benito “Bitong” Legarda y de la Paz and Filomena “Nena” Roces y Gonzalez. It passed on to his son Dr Alejandro “Mandu” Legarda y Roces married to 1) Carmen Tuason 2) Ramona Hernandez. Dr Alejandro “Mandu” installed it in the living room of his 1938 Andres Luna de San Pedro designed Art Deco style house at # 315 San Rafael street, San Miguel, Manila.
(For some fifteen years from 2000-2015, much of Manila admired “La Inocencia” during their memorable lunches and dinners at the much-loved and acclaimed “La Cocina de Tita Moning” at the Legarda-Hernandez residence managed by granddaughter Suzette Legarda Montinola.)
About “La Inocencia” : Who is “La Inocencia”?
by Lisa Guerrero Nakpil
Unlike his contemporary and sometime arch-rival Juan Luna y Novicio, Felix Resurreccion Hidalgo y Padilla was reputed to paint the same woman over and over again. Luna reveled in capturing the likenesses of different women, from petulant gypsies to elegant marquesas. He painted women, young and old, chulas, matrons, pretty Parisiennes perched in cafés to the ice-y daughters of Spanish grandees and governor-generals at the opera. He painted his fiancees, of no matter how short a period, and his first (and last) wife. He is even suspected of painting a private, very personal portrait of Queen Regent Cristina, of whom he made various official portraits that still hang in Spanish local museums.
Resurreccion Hidalgo, on the other hand, seems to have been imprinted with his long-time model and companion of a lifetime, Maria Yritia. He is, incidentally, not famous for the portraits he accomplished but rather his alndscapes and multiple allegorical works, choosing instead to situate his female subjects — and they are all thought to be Yrritia — in moonlit forests or by the sea (The moon and water were both favorite themes of his.)
Maria Yrritia has been described as a “French woman”, which would then place her in Paris around 1884 when Resurreccion Hidalgo first moved to that city. Her name, however, is redolent of the Basque country in northern Spain which sits very close to border of France, so she may indeed have begun her relationship with Resurreccion Hidalgo while he was in Madrid, where he arrived in 1879. He never gave her up, although he never married her.
There is a portrait entitled, “En El Jardin” (In the Garden), at the Lopez Memorial Museum, dated 1885. It pre-dates “La Inocencia”, painted in 1901, by 16 years, and appears to be the same dark-haired beauty with rounded eyebrows and slightly pursed lips. Could “La Inocencia”, as poetically described by its title, be an idealized, younger version of La Yrritia, pictured in a Parisian garden?
Art historian Ramon N. Villegas has been quoted as saying that Maria Yrritia was a blonde, based on the few remaining photographs of her extant. He describes the young woman in “La Inocencia” as “coltish and almost Celtic” but does see a common “Lolita-ilke” air between the two works. Villegas prefers to subscribe to the idea that she is a composite of the various European nymphs of the period, of which they were a favorite romantic idiom.
The identity of “La Inocencia” will no doubt remain a mystery for generations to come, as ethereal as her beauty, but what is certain is that this is a work of eternal magnificence.
FÉLIX RESURRECCIÓN Hidalgo Y PADILLA (February 21, 1855 – March 13, 1913) is hailed as one of the great Filipino master painters of the late 19th century. Hidalgo was born to wealth and privilege in Binondo, Manila to Eduardo Resurrección Hidalgo and Maria Barbara Padilla. Félix was educated at the University of Santo Tomas. He studied law, which he never finished, receiving a bachelor’s degree in philosophy. He was simultaneously enrolled at Manila’s art academy, the Escuela de Dibujo y Pintura.
In 1876, he showed his “La banca” (The Native Boat), “Vendedora de lanzones” (Lanzones Vendor) and other paintings at the Teatro Circo de Bilibid in Manila, before they were sent to the United States Centennial Exposition that year in Philadelphia. It was in that exposition that Simon Flores y de la Rosa’s work “La Orquestra” (The Orchestra) was awarded a silver medal, the first time a Filipino work gained international recognition.
In 1877, Resurrección Hidalgo was awarded second place in the contest for best cover design for the deluxe edition of Fr. Manuel Blanco’s “Flora de Filipinas” (Plants of the Philippines). In 1878, he painted the expressive “Los mendigos” (The Beggars.) In 1879, Hidalgo left for Spain as the Ayuntamiento of Manila’s pensionado or government scholar in fine arts. In Madrid, he studied at the Real Academia de Bellas Artes.
Together with Juan Luna y Novicio, Hidalgo inspired members of the Philippine reform movement which included José Rizal, Marcelo del Pilar, Mariano Ponce and Graciano López Jaena, and the other Filipino expatriates in Europe.
Luna garnered a gold medal, and Hidalgo a silver medal in the 1884 MadridE xposition of Fine Arts prompting Rizal to toast the two painters’ good health and citing their win as evidence that Filipinos and Spaniards were equals.
Hidalgo’s winning piece was “Las virgenes Cristianas expuestas alpopulacho” (The Christian Virgins Exposed to the Populace), The painting, now part of the Bangko Sentral ng Pilipinas art collection, shows a group of men mocking nearly naked female Christians martyrs, one of whom is seated in the foreground, head bowed in misery.
At the Exposición General de las Islas Filipinas in Madrid in 1887, organized by the Spanish Overseas Ministry, Hidalgo exhibited two major works. These were “La barca de Aqueronte” (The Boat of Charon), 1887, and “Laguna estigia” (The Styx), 1887, for which he received a gold medal. “La barca” was again shown at the Exposition Universelle in Paris and was awarded a silver medal by an international jury. In 1891 it was accorded a diploma of honor at the Exposición General de Bellas Artes of Barcelona. This painting also received a gold medal in the International Exposition of Fine Arts in Madrid during the commemoration of the 400th anniversary of the discovery of America.
Hidalgo exhibited “Adios al sol” (Farewell to the Sun), 1891 at the Exposición Internacional de Bellas Artes in Madrid in that year and “El crepusculo” (“The Dawn”), 1893, at the Universal Exposition in Chicago, also in that year. He showed both paintings again at the Exposición Artistica de Bilbao in August 1894. At the Exposición Regional de Filipinas in Manila in January 1895, Hidalgo showed his paintings although he did not come home. Perhaps he did not do so because he was preparing “Oedipus y Antigone” (Oedipus and Antigone), “El violinista” (The Violinist), and other works for exhibition at the Salon at Champs-Elysées, Paris. Hidalgo received a gold medal for his overall participation at the Universal Exposition in St. Louis, Missouri in 1904. His “El violinista” was accorded a gold medal.
In 1912, he finally visited Manila after 30 years upon his mother’s request. She had wanted him to be with her in her last days buta fter six months he went back to Paris. The following year, Resurrección Hidalgo died in Barcelona.
-- Ramon N. Villegas
A couple and their daughter selling Lanzones and other fruits at the Bagong Lipunan Market in Roxas City, Philippines. It's my wife's favorite fruit. Not sold in the US but available when in season in Canada imported from Thailand.
Lanzones: en.wikipedia.org/wiki/Lansium_domesticum
a species of tree in the family Meliaceae. The plant, which originates from western Southeast Asia, bears edible fruit.
Felix Resurreccion Hidalgo (1855-1913): La Inocencia
signed and dated 1901 (lower right)
oil on canvas
46” x 32” (117 cm x 81 cm)
Opening bid: P 10,000,000
Exhibited:
Leon Gallery, TWO NAVELS: LEON CURATED AUCTION, Makati City, Philippines, 3-10 September 2016
Literature:
Roces, Alfredo, Felix Resurreccion Hidalgo & The Generation of 1872, Eugenio Lopez Foundation Inc., Pasig City, 1998, p. 174- 175 (illustrated) Lory-vi B. Valdes et. al., Primos Unidos: Pasos del Tiempo (Cuarto Tomo), The TLC Book Company Limited, Philippines, 2007, p. 221-222 (illustrated)
Ramon N. Villegas & Lisa Guerrero Nakpil, TWO NAVELS: LEON CURATED AUCTION, Leon Gallery, Makati City, 2016, p. 12-17 (illustrated)
Lot 89 of the Leon Gallery auction on 3 December 2016. Please see www.leon-gallery.com for details.
Provenance:
by Augusto “Toto” M R Gonzalez III
“La Inocencia,” a beautiful young lady painted by Felix Resurreccion Hidalgo y Padilla in Paris in 1901, harks back to the happiest years of the affluent and elegant Filipino painter who had fallen in love with his Spanish model Maria Yrritia. He brought her all the way to Manila to meet his aristocratic mother and family. Predictably, Maria Yrritia’s modest origins met with stern disapproval from the superrich Barbara Padilla de Resurreccion Hidalgo — “the Queen of the Pasig River” as she owned the biggest fleet of “cascos” trading barges and a succession of warehouses that lined the river in Binondo and Tondo; it was a shipping and real estate fortune inherited from her father Narciso Padilla. Embittered, the couple returned to Spain and Felix never returned to his family and homeland. When he died, Maria Yrritia accompanied his remains and belongings back to Manila. She boarded a ship bound for Spain but never made it back as the ship sunk off South Africa.
“La Inocencia” was acquired by Felix Hidalgo’s friend, contemporary, and neighbor Benito Cosme Legarda y Tuason and his wife Teresa de la Paz viuda de Severo Tuason. It was for many years the cynosure of the large “sala” of “La Casa Grande,” their storied residence at # 964 R Hidalgo street (formerly Calle San Sebastian) in Manila; hung on the other walls were more paintings by Felix Resurreccion Hidalgo y Padilla, Juan Luna y Novicio, and the other notable painters of the day. The imposing “bahay-na-bato” was constructed by the Conde de Aviles on Calle San Sebastian in the 1850s. In those days, the Palacio de Malacanan was in a constant state of disrepair, so it was at the palatial and elegant “La Casa Grande” that the Spanish Governor-Generals entertained visiting royalty and aristocracy like the Duke of Edinburgh in 1869 and King Norodom I of Cambodia in 1872.
“La Casa Grande” was purchased by the newlywed couple Benito Cosme Legarda y Tuason and Teresa de la Paz viuda de Tuason in 1876. Benito Legarda was a lawyer, the son of the Basque Benito Legarda y Lerma and the Filipina-Chinese heiress Cirila Magdalena Tuason of the famed landowning family. Benito Legarda later became a member of the cabinet of General Emilio Aguinaldo, the Vice-President of the Malolos Congress, and the Director of the Treasury; he became a member of the Philippine Commission in 1901 and co-founded the “Partido Federalista” with Trinidad H Pardo de Tavera. Teresa de la Paz was the young widow of Jose Severo Tuason, the fourth Lord of the Tuason “mayorazgo,” the only Filipino-Chinese family raised to the “hidalguia” nobility in Spain. Their patriarch Antonio Maria Tuason was of great assistance to the Spanish military forces during the British Occupation from 1762-64 and was subsequently ennobled by Spain. It was at “La Casa Grande” that they raised their three children Consuelo, Benito III, and Rita. Benito III “Bitong” married Filomena “Menang” Roces y Gonzalez; Consuelo “Titang” married Mauro Prieto y Gorricho; and Rita “Chata” married 1) L James Donaldson-Sim 2) Dr Benito Valdes y Salvador, thus completing the interrelations of four of Old Manila’s most prominent families, the Tuason-Legarda-Prieto Valdes clan.
Benito III “Bitong” Legarda y de la Paz married Filomena “Menang” Roces y Gonzalez and had seven children: Benito IV “Ben” married Trinidad "Trining"Fernandez; Rosario “Bombona” married Dr Basilio Valdes; Dr Alejandro “Mandu” married 1) Carmen Tuason 2) Ramona “Moning” Hernandez; Teresa “Titic”; Filomena “Filomenita”; Beatriz "Botones" married Alfredo “Pocholo” Gonzales; Jose “Pepito” married Rosario “Charito” Lobregat.
“La Inocencia” by Felix Resurreccion Hidalgo y Padilla devolved to the family of Benito “Bitong” Legarda y de la Paz and Filomena “Nena” Roces y Gonzalez. It passed on to his son Dr Alejandro “Mandu” Legarda y Roces married to 1) Carmen Tuason 2) Ramona Hernandez. Dr Alejandro “Mandu” installed it in the living room of his 1938 Andres Luna de San Pedro designed Art Deco style house at # 315 San Rafael street, San Miguel, Manila.
(For some fifteen years from 2000-2015, much of Manila admired “La Inocencia” during their memorable lunches and dinners at the much-loved and acclaimed “La Cocina de Tita Moning” at the Legarda-Hernandez residence managed by granddaughter Suzette Legarda Montinola.)
About “La Inocencia” : Who is “La Inocencia”?
by Lisa Guerrero Nakpil
Unlike his contemporary and sometime arch-rival Juan Luna y Novicio, Felix Resurreccion Hidalgo y Padilla was reputed to paint the same woman over and over again. Luna reveled in capturing the likenesses of different women, from petulant gypsies to elegant marquesas. He painted women, young and old, chulas, matrons, pretty Parisiennes perched in cafés to the ice-y daughters of Spanish grandees and governor-generals at the opera. He painted his fiancees, of no matter how short a period, and his first (and last) wife. He is even suspected of painting a private, very personal portrait of Queen Regent Cristina, of whom he made various official portraits that still hang in Spanish local museums.
Resurreccion Hidalgo, on the other hand, seems to have been imprinted with his long-time model and companion of a lifetime, Maria Yritia. He is, incidentally, not famous for the portraits he accomplished but rather his alndscapes and multiple allegorical works, choosing instead to situate his female subjects — and they are all thought to be Yrritia — in moonlit forests or by the sea (The moon and water were both favorite themes of his.)
Maria Yrritia has been described as a “French woman”, which would then place her in Paris around 1884 when Resurreccion Hidalgo first moved to that city. Her name, however, is redolent of the Basque country in northern Spain which sits very close to border of France, so she may indeed have begun her relationship with Resurreccion Hidalgo while he was in Madrid, where he arrived in 1879. He never gave her up, although he never married her.
There is a portrait entitled, “En El Jardin” (In the Garden), at the Lopez Memorial Museum, dated 1885. It pre-dates “La Inocencia”, painted in 1901, by 16 years, and appears to be the same dark-haired beauty with rounded eyebrows and slightly pursed lips. Could “La Inocencia”, as poetically described by its title, be an idealized, younger version of La Yrritia, pictured in a Parisian garden?
Art historian Ramon N. Villegas has been quoted as saying that Maria Yrritia was a blonde, based on the few remaining photographs of her extant. He describes the young woman in “La Inocencia” as “coltish and almost Celtic” but does see a common “Lolita-ilke” air between the two works. Villegas prefers to subscribe to the idea that she is a composite of the various European nymphs of the period, of which they were a favorite romantic idiom.
The identity of “La Inocencia” will no doubt remain a mystery for generations to come, as ethereal as her beauty, but what is certain is that this is a work of eternal magnificence.
FÉLIX RESURRECCIÓN Hidalgo Y PADILLA (February 21, 1855 – March 13, 1913) is hailed as one of the great Filipino master painters of the late 19th century. Hidalgo was born to wealth and privilege in Binondo, Manila to Eduardo Resurrección Hidalgo and Maria Barbara Padilla. Félix was educated at the University of Santo Tomas. He studied law, which he never finished, receiving a bachelor’s degree in philosophy. He was simultaneously enrolled at Manila’s art academy, the Escuela de Dibujo y Pintura.
In 1876, he showed his “La banca” (The Native Boat), “Vendedora de lanzones” (Lanzones Vendor) and other paintings at the Teatro Circo de Bilibid in Manila, before they were sent to the United States Centennial Exposition that year in Philadelphia. It was in that exposition that Simon Flores y de la Rosa’s work “La Orquestra” (The Orchestra) was awarded a silver medal, the first time a Filipino work gained international recognition.
In 1877, Resurrección Hidalgo was awarded second place in the contest for best cover design for the deluxe edition of Fr. Manuel Blanco’s “Flora de Filipinas” (Plants of the Philippines). In 1878, he painted the expressive “Los mendigos” (The Beggars.) In 1879, Hidalgo left for Spain as the Ayuntamiento of Manila’s pensionado or government scholar in fine arts. In Madrid, he studied at the Real Academia de Bellas Artes.
Together with Juan Luna y Novicio, Hidalgo inspired members of the Philippine reform movement which included José Rizal, Marcelo del Pilar, Mariano Ponce and Graciano López Jaena, and the other Filipino expatriates in Europe.
Luna garnered a gold medal, and Hidalgo a silver medal in the 1884 MadridE xposition of Fine Arts prompting Rizal to toast the two painters’ good health and citing their win as evidence that Filipinos and Spaniards were equals.
Hidalgo’s winning piece was “Las virgenes Cristianas expuestas alpopulacho” (The Christian Virgins Exposed to the Populace), The painting, now part of the Bangko Sentral ng Pilipinas art collection, shows a group of men mocking nearly naked female Christians martyrs, one of whom is seated in the foreground, head bowed in misery.
At the Exposición General de las Islas Filipinas in Madrid in 1887, organized by the Spanish Overseas Ministry, Hidalgo exhibited two major works. These were “La barca de Aqueronte” (The Boat of Charon), 1887, and “Laguna estigia” (The Styx), 1887, for which he received a gold medal. “La barca” was again shown at the Exposition Universelle in Paris and was awarded a silver medal by an international jury. In 1891 it was accorded a diploma of honor at the Exposición General de Bellas Artes of Barcelona. This painting also received a gold medal in the International Exposition of Fine Arts in Madrid during the commemoration of the 400th anniversary of the discovery of America.
Hidalgo exhibited “Adios al sol” (Farewell to the Sun), 1891 at the Exposición Internacional de Bellas Artes in Madrid in that year and “El crepusculo” (“The Dawn”), 1893, at the Universal Exposition in Chicago, also in that year. He showed both paintings again at the Exposición Artistica de Bilbao in August 1894. At the Exposición Regional de Filipinas in Manila in January 1895, Hidalgo showed his paintings although he did not come home. Perhaps he did not do so because he was preparing “Oedipus y Antigone” (Oedipus and Antigone), “El violinista” (The Violinist), and other works for exhibition at the Salon at Champs-Elysées, Paris. Hidalgo received a gold medal for his overall participation at the Universal Exposition in St. Louis, Missouri in 1904. His “El violinista” was accorded a gold medal.
In 1912, he finally visited Manila after 30 years upon his mother’s request. She had wanted him to be with her in her last days buta fter six months he went back to Paris. The following year, Resurrección Hidalgo died in Barcelona.
-- Ramon N. Villegas
Felix Resurreccion Hidalgo (1855-1913): La Inocencia
signed and dated 1901 (lower right)
oil on canvas
46” x 32” (117 cm x 81 cm)
Opening bid: P 10,000,000
Exhibited:
Leon Gallery, TWO NAVELS: LEON CURATED AUCTION, Makati City, Philippines, 3-10 September 2016
Literature:
Roces, Alfredo, Felix Resurreccion Hidalgo & The Generation of 1872, Eugenio Lopez Foundation Inc., Pasig City, 1998, p. 174- 175 (illustrated) Lory-vi B. Valdes et. al., Primos Unidos: Pasos del Tiempo (Cuarto Tomo), The TLC Book Company Limited, Philippines, 2007, p. 221-222 (illustrated)
Ramon N. Villegas & Lisa Guerrero Nakpil, TWO NAVELS: LEON CURATED AUCTION, Leon Gallery, Makati City, 2016, p. 12-17 (illustrated)
Lot 89 of the Leon Gallery auction on 3 December 2016. Please see www.leon-gallery.com for details.
Provenance:
by Augusto “Toto” M R Gonzalez III
“La Inocencia,” a beautiful young lady painted by Felix Resurreccion Hidalgo y Padilla in Paris in 1901, harks back to the happiest years of the affluent and elegant Filipino painter who had fallen in love with his Spanish model Maria Yrritia. He brought her all the way to Manila to meet his aristocratic mother and family. Predictably, Maria Yrritia’s modest origins met with stern disapproval from the superrich Barbara Padilla de Resurreccion Hidalgo — “the Queen of the Pasig River” as she owned the biggest fleet of “cascos” trading barges and a succession of warehouses that lined the river in Binondo and Tondo; it was a shipping and real estate fortune inherited from her father Narciso Padilla. Embittered, the couple returned to Spain and Felix never returned to his family and homeland. When he died, Maria Yrritia accompanied his remains and belongings back to Manila. She boarded a ship bound for Spain but never made it back as the ship sunk off South Africa.
“La Inocencia” was acquired by Felix Hidalgo’s friend, contemporary, and neighbor Benito Cosme Legarda y Tuason and his wife Teresa de la Paz viuda de Severo Tuason. It was for many years the cynosure of the large “sala” of “La Casa Grande,” their storied residence at # 964 R Hidalgo street (formerly Calle San Sebastian) in Manila; hung on the other walls were more paintings by Felix Resurreccion Hidalgo y Padilla, Juan Luna y Novicio, and the other notable painters of the day. The imposing “bahay-na-bato” was constructed by the Conde de Aviles on Calle San Sebastian in the 1850s. In those days, the Palacio de Malacanan was in a constant state of disrepair, so it was at the palatial and elegant “La Casa Grande” that the Spanish Governor-Generals entertained visiting royalty and aristocracy like the Duke of Edinburgh in 1869 and King Norodom I of Cambodia in 1872.
“La Casa Grande” was purchased by the newlywed couple Benito Cosme Legarda y Tuason and Teresa de la Paz viuda de Tuason in 1876. Benito Legarda was a lawyer, the son of the Basque Benito Legarda y Lerma and the Filipina-Chinese heiress Cirila Magdalena Tuason of the famed landowning family. Benito Legarda later became a member of the cabinet of General Emilio Aguinaldo, the Vice-President of the Malolos Congress, and the Director of the Treasury; he became a member of the Philippine Commission in 1901 and co-founded the “Partido Federalista” with Trinidad H Pardo de Tavera. Teresa de la Paz was the young widow of Jose Severo Tuason, the fourth Lord of the Tuason “mayorazgo,” the only Filipino-Chinese family raised to the “hidalguia” nobility in Spain. Their patriarch Antonio Maria Tuason was of great assistance to the Spanish military forces during the British Occupation from 1762-64 and was subsequently ennobled by Spain. It was at “La Casa Grande” that they raised their three children Consuelo, Benito III, and Rita. Benito III “Bitong” married Filomena “Menang” Roces y Gonzalez; Consuelo “Titang” married Mauro Prieto y Gorricho; and Rita “Chata” married 1) L James Donaldson-Sim 2) Dr Benito Valdes y Salvador, thus completing the interrelations of four of Old Manila’s most prominent families, the Tuason-Legarda-Prieto Valdes clan.
Benito III “Bitong” Legarda y de la Paz married Filomena “Menang” Roces y Gonzalez and had seven children: Benito IV “Ben” married Trinidad "Trining"Fernandez; Rosario “Bombona” married Dr Basilio Valdes; Dr Alejandro “Mandu” married 1) Carmen Tuason 2) Ramona “Moning” Hernandez; Teresa “Titic”; Filomena “Filomenita”; Beatriz "Botones" married Alfredo “Pocholo” Gonzales; Jose “Pepito” married Rosario “Charito” Lobregat.
“La Inocencia” by Felix Resurreccion Hidalgo y Padilla devolved to the family of Benito “Bitong” Legarda y de la Paz and Filomena “Nena” Roces y Gonzalez. It passed on to his son Dr Alejandro “Mandu” Legarda y Roces married to 1) Carmen Tuason 2) Ramona Hernandez. Dr Alejandro “Mandu” installed it in the living room of his 1938 Andres Luna de San Pedro designed Art Deco style house at # 315 San Rafael street, San Miguel, Manila.
(For some fifteen years from 2000-2015, much of Manila admired “La Inocencia” during their memorable lunches and dinners at the much-loved and acclaimed “La Cocina de Tita Moning” at the Legarda-Hernandez residence managed by granddaughter Suzette Legarda Montinola.)
About “La Inocencia” : Who is “La Inocencia”?
by Lisa Guerrero Nakpil
Unlike his contemporary and sometime arch-rival Juan Luna y Novicio, Felix Resurreccion Hidalgo y Padilla was reputed to paint the same woman over and over again. Luna reveled in capturing the likenesses of different women, from petulant gypsies to elegant marquesas. He painted women, young and old, chulas, matrons, pretty Parisiennes perched in cafés to the ice-y daughters of Spanish grandees and governor-generals at the opera. He painted his fiancees, of no matter how short a period, and his first (and last) wife. He is even suspected of painting a private, very personal portrait of Queen Regent Cristina, of whom he made various official portraits that still hang in Spanish local museums.
Resurreccion Hidalgo, on the other hand, seems to have been imprinted with his long-time model and companion of a lifetime, Maria Yritia. He is, incidentally, not famous for the portraits he accomplished but rather his alndscapes and multiple allegorical works, choosing instead to situate his female subjects — and they are all thought to be Yrritia — in moonlit forests or by the sea (The moon and water were both favorite themes of his.)
Maria Yrritia has been described as a “French woman”, which would then place her in Paris around 1884 when Resurreccion Hidalgo first moved to that city. Her name, however, is redolent of the Basque country in northern Spain which sits very close to border of France, so she may indeed have begun her relationship with Resurreccion Hidalgo while he was in Madrid, where he arrived in 1879. He never gave her up, although he never married her.
There is a portrait entitled, “En El Jardin” (In the Garden), at the Lopez Memorial Museum, dated 1885. It pre-dates “La Inocencia”, painted in 1901, by 16 years, and appears to be the same dark-haired beauty with rounded eyebrows and slightly pursed lips. Could “La Inocencia”, as poetically described by its title, be an idealized, younger version of La Yrritia, pictured in a Parisian garden?
Art historian Ramon N. Villegas has been quoted as saying that Maria Yrritia was a blonde, based on the few remaining photographs of her extant. He describes the young woman in “La Inocencia” as “coltish and almost Celtic” but does see a common “Lolita-ilke” air between the two works. Villegas prefers to subscribe to the idea that she is a composite of the various European nymphs of the period, of which they were a favorite romantic idiom.
The identity of “La Inocencia” will no doubt remain a mystery for generations to come, as ethereal as her beauty, but what is certain is that this is a work of eternal magnificence.
FÉLIX RESURRECCIÓN Hidalgo Y PADILLA (February 21, 1855 – March 13, 1913) is hailed as one of the great Filipino master painters of the late 19th century. Hidalgo was born to wealth and privilege in Binondo, Manila to Eduardo Resurrección Hidalgo and Maria Barbara Padilla. Félix was educated at the University of Santo Tomas. He studied law, which he never finished, receiving a bachelor’s degree in philosophy. He was simultaneously enrolled at Manila’s art academy, the Escuela de Dibujo y Pintura.
In 1876, he showed his “La banca” (The Native Boat), “Vendedora de lanzones” (Lanzones Vendor) and other paintings at the Teatro Circo de Bilibid in Manila, before they were sent to the United States Centennial Exposition that year in Philadelphia. It was in that exposition that Simon Flores y de la Rosa’s work “La Orquestra” (The Orchestra) was awarded a silver medal, the first time a Filipino work gained international recognition.
In 1877, Resurrección Hidalgo was awarded second place in the contest for best cover design for the deluxe edition of Fr. Manuel Blanco’s “Flora de Filipinas” (Plants of the Philippines). In 1878, he painted the expressive “Los mendigos” (The Beggars.) In 1879, Hidalgo left for Spain as the Ayuntamiento of Manila’s pensionado or government scholar in fine arts. In Madrid, he studied at the Real Academia de Bellas Artes.
Together with Juan Luna y Novicio, Hidalgo inspired members of the Philippine reform movement which included José Rizal, Marcelo del Pilar, Mariano Ponce and Graciano López Jaena, and the other Filipino expatriates in Europe.
Luna garnered a gold medal, and Hidalgo a silver medal in the 1884 MadridE xposition of Fine Arts prompting Rizal to toast the two painters’ good health and citing their win as evidence that Filipinos and Spaniards were equals.
Hidalgo’s winning piece was “Las virgenes Cristianas expuestas alpopulacho” (The Christian Virgins Exposed to the Populace), The painting, now part of the Bangko Sentral ng Pilipinas art collection, shows a group of men mocking nearly naked female Christians martyrs, one of whom is seated in the foreground, head bowed in misery.
At the Exposición General de las Islas Filipinas in Madrid in 1887, organized by the Spanish Overseas Ministry, Hidalgo exhibited two major works. These were “La barca de Aqueronte” (The Boat of Charon), 1887, and “Laguna estigia” (The Styx), 1887, for which he received a gold medal. “La barca” was again shown at the Exposition Universelle in Paris and was awarded a silver medal by an international jury. In 1891 it was accorded a diploma of honor at the Exposición General de Bellas Artes of Barcelona. This painting also received a gold medal in the International Exposition of Fine Arts in Madrid during the commemoration of the 400th anniversary of the discovery of America.
Hidalgo exhibited “Adios al sol” (Farewell to the Sun), 1891 at the Exposición Internacional de Bellas Artes in Madrid in that year and “El crepusculo” (“The Dawn”), 1893, at the Universal Exposition in Chicago, also in that year. He showed both paintings again at the Exposición Artistica de Bilbao in August 1894. At the Exposición Regional de Filipinas in Manila in January 1895, Hidalgo showed his paintings although he did not come home. Perhaps he did not do so because he was preparing “Oedipus y Antigone” (Oedipus and Antigone), “El violinista” (The Violinist), and other works for exhibition at the Salon at Champs-Elysées, Paris. Hidalgo received a gold medal for his overall participation at the Universal Exposition in St. Louis, Missouri in 1904. His “El violinista” was accorded a gold medal.
In 1912, he finally visited Manila after 30 years upon his mother’s request. She had wanted him to be with her in her last days buta fter six months he went back to Paris. The following year, Resurrección Hidalgo died in Barcelona.
-- Ramon N. Villegas
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