“In my work I always celebrate the women of the Philippines. I regard them with deep admiration and they to continue to inspire me—their movements and gestures, their expressions of happiness and frustration; their diligence and shortcomings; their joy of living. I know very well the strength, hard work and quiet dignity [they possess], for I am one of them”
The only female artist amongst the Thirteen Moderns, Anita Magsaysay-Ho had a transformative impact on Filipino modern art in the latter half of the 20th century, breaking away from the classical conventions that dominated pre-war painting and sculpture. Despite working within male-dominated creative spheres, Anita's artistic achievements were not only recognized during her lifetime, but she continues to be one of the most admired artists from the region.
Paghuhuli Ng Mga Manok(Catching Chickens) stands as a masterpiece by the artist. Rarely does a work of this impressive scale appear on the market, especially from the 1960s period just as the artist gained recognition and awards for her accomplishments in the 1950s. Only 8 oil works from the 1960s have surfaced in the international auction market in the past 15 years, and the present work is the largest of them all. The present work stands as the third largest oil work by the artist to surface at auction, and the largest to have appeared in the international auction market.
The artist was so proud of this very composition that she commissioned a series of 100 serigraphs based on this painting in 2000.
Anita's oeuvre famously celebrates camaraderie and sisterhood, with her works often featuring working women in groups of two or more variously engaging in labor and daily domestic activities. In the present work, four monumental women dance with grace and gravitas as they catch chickens and gather them in baskets. With an emphasis of momentary movement, bustling interactions and vigorous, domestic rhythms, her canvases offer a window into the world of women, one that depart from the effete representation of dainty muses choreographed for the male gaze.
Executed in 1962,the present work is a sophisticated example of the artist's mid-career works. Paghuhuli Ng Mga Manok (Catching Chickens) employs a complex color palette, weaving hints or turquoise, purple and reds. The scene is bathed in a golden sunset hue as the tanned skin and orange skirts of the women are lit by by yellow, orange and golden rays. The work is highly textured and showcases the artist's generous application of paint and layered brushwork.
She completed her early training at University of the Philippines (UP) School of Fine Arts and School of Design under Fernando Amorsolo and Victorio Edades, both monumental figures in Filipino art history. In the 1930s she studied in the US, specifically at Cranbrook Academy in Michigan and then at the Art Students League in New York.
In 1947,the artist married Robert Ho, from Hong Kong. The family lived in Manila for 14 years (1949-63). The family led a cosmopolitan and nomadic life, living in more than 30 homes in over six countries over a span of 50 years.
A plethora of chickens fill the dense composition, each painted with strokes of white and bright red for their combs and wattles. Scattered in a pattern-like fashion around the women, these chicken are not only an integral part of farm life in the Philippines, they are also auspicious symbols in Chinese tradition. The rooster represents fidelity, the wish for good fortune and the awakening of dawn.
Anita Magsaysay-Ho's Self-portrait (1944) is currently exhibited at the Central Pavillion of the 2024 La Biennale de Venezia. Highlighting Anita Magsaysay-Ho as a "Philippine painter central to histories of Southeast Asian modernism" on one of the most prestigious and critically acclaimed international art events in the calendar.