阿莫索羅

馬利安諾·德·佩德羅·依·聖吉爾先生於1941年在馬尼拉直接購自藝術家
自此家族收藏至現藏家
私人收藏，西班牙

The work is in good condition overall, as is the canvas, which is clear and taut. There is evidence of light wear and handling on the edges of the painting, but the paint layers are healthy and well-preserved. Upon close observation, a pin-sized hole is visible on the center fruit basket and on the arm of the rightmost kneeling figure. Examination under ultraviolet light shows a minor retouching on the background (center, next to trees), neck area of the woman with basket, and on her fruit basket. However, this is not visible with the naked eyes. 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."

Fernando Amorsolo, the first National Artist of the Philippines, was the most prolific artist of his time. Amorsolo’s masterpieces mostly featured idyllic rural landscapes and Filipina women, paintings that preserved the Filipino soul and spirit during the American colonial rule. Art historian Florina H. Capistrano-Baker writes, “The ideal Filipina beauty for Amorsolo was not just a pretty face, but an important symbol of national identity. Through his portrayal of the winsome country lass, Amorsolo succeeded in weaning Filipinos from the colonial mestiza to a nationalistic Filipino ideal.”¹

Ideal Filipina beauty is very much at the crux of Recolección de los mangos (Collecting Mangoes). While the painting depicts a group of six people together gathering mangoes, Amorsolo’s skillful use of composition, color, and light points to the true subject of the painting: the girl with the yellow head scarf. Known for his mastery in the use of light, Amorsolo illuminates the girl with soft natural sunlight while the rest of the figures are hidden in the shadow. Pinks and yellows on her skirt and scarf shine vibrantly from the sunlight breaking through the foliage. Seated on the bench, the girl is at the apex of a classic triangle composition in which the base of the triangle is formed the figures seated on the ground, thus attention is focused at her. Amorsolo also draws the viewer’s attention to the girl by keeping her face unobstructed while other faces are turned and hidden under hats.

 As Capistrano-Baker explains, this unobstructed face of Filipina beauty was “not just a pretty face.”² To Amorsolo, depicting the ideal Filipina beauty was part of his search for the Philippines version of the Greek ideal of the female form. He rejected western ideals of beauty and sought to represent the true Filipina dalaga, or girl. Unsatisfied with how Filipina women were drawn with foreign features in newspapers and magazine illustrations, Amorsolo painted his women with traits of native island beauty: rounded faces, lively eyes, and fresh skin.

 Amorsolo’s women became recognized as true reflections of the Filipino soul, radiating with the purity and tranquility that characterized life in rural areas. Recolección de los mangos (Collecting Mangoes) and Amorsolo’s other early genre paintings created a sense of nationhood during a time of colonization and war. Likewise, the beautiful, glowing Filipina girl at the center of these works became a symbol of national identity. In this way, Recolección de los mangos (Collecting Mangoes) is a work that captures the spirit and hope of an age and nation.

¹Florina H. Capistrano-Baker, “Transnationalism in the Late 19th-20th Century” in Pioneers of Philippine Art, Makati City, Philippines, 2006, p.21

²Refer to 1