Pagpupugay kay Anita Magsaysay-Ho

by Be-Blogger Pilipinas on: Mayo 10th, 2012

 

Sumakabilang-buhay noong isang linggo, ika-apat ng Mayo, ang isa sa pinaka dakilang pintor, modernista, at alagad ng sining sa buong kasaysayan ng Pilipinas. Si Anita Magsaysay-Ho, na kamag-anak ng dating presidenteng Ramon Magsaysay, ay kilala para sa kanyang mga larawan ng pesanteng Filipina. Ipinagdiwang niya sa kanyang mga kambas ang kababaihan ng bansa na sa kalakhan ay manggagawang dagat at bukid: nagtatahip ng palay, umaani ng prutas at gulay, nagtatali ng tinabas na tubó, nagsusulsi ng lambat at nagtitinda ng sariwang húli, naghahabi ng basket, nagluluto, nagtatanim.

 

 

Malalim ang paghanga ni Magsaysay-Ho sa Filipina. Kahit na makailang beses siyang tumira sa ibang bansa dahil sa negosyo ng kanyang asawa — Hong Kong, US, Brasil, Japan, at Canada — nanatili sa kanyang puso ang kanyang mga kababayan. Naging inspirasyon ang kanilang kilos, pag-uugali, paraan ng pagpapakita ng ligaya at lunggati, kasipagan at kahinaan, ang kanilang pagdiriwang ng buhay. “Batid ko ang lakas, kasipagan, at dignidad ng Filipina, dahil isa ako sa kanila,” ang sabi ni Anita (sa Inggles) kay Alfredo Roces sa librong ‘Pagpupugay sa Kababaihan’ (‘In Praise of Women’).

 

 

Malaki ang papel ni Magsaysay-Ho sa pagdadala ng estetikang modernista sa pagpinta sa Pilipinas. Kasama niya sa listahan ni Victorio Edades ng “13 Modernista ng Pilipinas” sina Galo Ocampo, Botong Francisco, Vicente Manansala, H.R. Ocampo, Cesar Legaspi, Demetrio Diego, Diosdado Lorenzo, Jose Pardo, Ricarte Purugganan, Bonifacio Cristobal, at Arsenion Capili. Sa pamamagitan ng pagsasalarawan niya ng buhay Filipino at pagsasanib ng tradisyunal sa modernista sa sining, nananatiling kayamanan ng bansa ang kanyang iniwang mga likha.

 

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 The Raw Emotions of Ang Kiukok

by United Blogs of Benetton on: Abril 10th, 2010

(Angry Figure)

Tangled nets with fish like swords that are as sharp as the fishermen’s hungry and contorted shoulders. Vicious dogs that gnaw at each other’s necks, cantankerous chickens brandishing their claws.


(Fishermen with Catch – The Lovers – Fighting Figures)

These are just some of the violent images that are part of the aesthetic language of Filipino-Chinese painter and national artist Ang Kiukok.

They go beyond mere angst and repressed emotion; they dig holes deeper than the source. I believe that Ang Kiukok is foremost a Filipino painter, and his art a Filipino medium, because his paintings uncover common feelings borne from the same experiences.


(Fish – Fisherman)

He has expressed, even in the originally foreign tools of cubism and expressionism, the collective anger, alienation, and suffering unique to the history of the Philippines-such as the specific event of Martial Law under President Marcos
and the general predicament of poverty caused by centuries of backwardness.


(Crucifixion – Clowns – Mother and Son)

Of course, his works also express the universal, if only seen through the eyes of a nation: a man on fire, limbs entangled in fatal combat or twisted and broken into each other in the embrace of love.


(The Last Supper)

There are angles and edges to the righteous faces of apostles, to the bond and burden between mother and child, the bones and maws of fish, the limbs of desert horses. Finally, Kiukok expresses the machination of what is human by showing the industrially hammered, nailed, cut, welded, sliced, and broken body of the man on the crucifix. We all share in that silent and anguished cry, in tears that run from empty sockets.

El Bosquejo

 
 

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