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FERNANDO CUETO AMORSOLO
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Description
FERNANDO CUETO AMORSOLO
1892-1972
GIRL WITH MANGOES
Signed and dated 1951 lower right
Oil on canvas laid on board
88 by 61 cm.; 34 3/4 by 24 in.
S$50000-70000
US$30300-42420
Highly regarded as the Grand master of Filipino genre painting, Fernando Amorsolo's innumerable, idyllic renditions of Filipino pastoral life have firmly imprinted themselves in the psyche of the Philippines. A fervent aesthete, Amorsolo hoped to emphasise the finer qualities of his country and of the common people, attempting to portray all the natural grace and dignity found in their lives and labours.
The artist paid particular attention to one of the primary characteristics defining his work; that of the embellishment of the dalagang Filipina or perfect Filipina beauty. To Amorsolo, the female form was to be celebrated; exemplifying the ideal.
'My conception of the ideal Filipina beauty is one with a rounded face, not of the oval type often presented to us in newspaper and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked. The mouth plays a very important part in the determination of a beautiful face. The ideal Filipina beauty should have a sensuous mouth, not the type of the pouting mouth of the early days...So; the ideal Filipino beauty should not necessarily be white-complexioned, not of the dark brown colour of the typical Malayan, but of the clear skin or flesh -coloured type which we often witness when we meet a blushing girl.'1
The following Lot exquisitely displays Amorsolo's fine, joyous vision of the Filipina maiden. Bathed in sunshine, fresh-faced and contented, the young girl mirrors the lushness of the fruits she carries. Smiling at the onlooker, she epitomizes the beauty, nostalgia and the dream of how the Philippines should always be.
Note
1 Alfredo R.Roces, Amorsolo, Filipinas Foundation, Manila, 1975, p.90.
1892-1972
GIRL WITH MANGOES
Signed and dated 1951 lower right
Oil on canvas laid on board
88 by 61 cm.; 34 3/4 by 24 in.
S$50000-70000
US$30300-42420
Highly regarded as the Grand master of Filipino genre painting, Fernando Amorsolo's innumerable, idyllic renditions of Filipino pastoral life have firmly imprinted themselves in the psyche of the Philippines. A fervent aesthete, Amorsolo hoped to emphasise the finer qualities of his country and of the common people, attempting to portray all the natural grace and dignity found in their lives and labours.
The artist paid particular attention to one of the primary characteristics defining his work; that of the embellishment of the dalagang Filipina or perfect Filipina beauty. To Amorsolo, the female form was to be celebrated; exemplifying the ideal.
'My conception of the ideal Filipina beauty is one with a rounded face, not of the oval type often presented to us in newspaper and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked. The mouth plays a very important part in the determination of a beautiful face. The ideal Filipina beauty should have a sensuous mouth, not the type of the pouting mouth of the early days...So; the ideal Filipino beauty should not necessarily be white-complexioned, not of the dark brown colour of the typical Malayan, but of the clear skin or flesh -coloured type which we often witness when we meet a blushing girl.'1
The following Lot exquisitely displays Amorsolo's fine, joyous vision of the Filipina maiden. Bathed in sunshine, fresh-faced and contented, the young girl mirrors the lushness of the fruits she carries. Smiling at the onlooker, she epitomizes the beauty, nostalgia and the dream of how the Philippines should always be.
Note
1 Alfredo R.Roces, Amorsolo, Filipinas Foundation, Manila, 1975, p.90.