Fernando Cueto Amorsolo

This work is in good condition overall with a clear and taut canvas. . There is evidence of light wear and handling to the edges, along with the associated abrasion and paint loss on the upper middle edge, which was presumably due to previous framing. . Otherwise paint layers are well preserved. An area of restoration is evident on the upper right edge and is visible upon inspection under ultraviolet light. Colour of the catalogue illustration is accurate. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The beauty of the dalagang Filipina has always been a constant preoccupation of Amorsolo's. He once remarked, "My conception of the idea 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... The nose should be of the blunt form but firm and strongly marked... 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." (Alfredo R. Roces, Amorsolo, Filipinas Foundation, Manila, 1975, p. 90). 

The present work was completed in 1936, when the world was in the cusp of a revolutionary change. By the following year, women would have full voting rights, and the art world of the Philippines was in turmoil, with the Modernists fighting to be heard. The flood of change seemed unstoppable, but Amorsolo still upheld his belief. By depicting the ideal Filipina beauty on her way home, with her laundry in one basket and a banga (earthen pot) on her head and the romantic glow of the sunset behind her, the artist held on to the ideologies of beauty and nostalgia.  He raised the level of genre painting to such heights that his peers emulated him, copied him or rebelled against him entirely. Whatever the case may be, he is unquestionably the most influential artist in the history of the Philippines.