Christie's /Nov 25, 2012
€18,218.06 - €26,314.98
Artworks in Arcadja49
Some works of Ang Kiu KokExtracted between 49 works in the catalog of Arcadja
Auction: Christie's -Nov 24, 2013 - Hong KongLot number: 152
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Lot Description ANG KIU KOK (Filipino, 1931-2005) Dogfight signed and dated 'Kiu Kok 82' (upper left) oil on canvas 90 x 114 cm. (35 3/8 x 44 7/8 in.) Painted in 1982 洪救国 狗之搏斗 油彩 画布 1982年作 款识： Kiu Kok 82 (左上) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Literature Alfredo Roces, Kiu Kok: Deconstructing Despair, Finale Art Gallery, Philippines, 2000 (illustration no. 399). View Lot Notes > Ang Kiu Kok is a leading modernist painter within the Philippines. Born of Chinese descent, Ang's migrant-patriot father originally wanted to name him Hua Sheng, or "Chinese-born", but decided to look for another name when he learned that his cousin's son had been given the same name. Worried about China's fate amidst the turbulent political climate, his father named him Kiukok, which meant "Save the Country." Ang came of age during the divisive period of post-WWII. Coming from a strict Chinese background, it was particularly difficult for Ang to become an artist due to familial pressures to choose a proper career or vocation. Nonetheless Ang perservered, enthusiastically absorbing influences from the modern art movement and fusing this with subject matters close to his heart. He eventually became an acclaimed artist within the Philippines, embraced by the local Chinese community and even invited to exhibit with the Chinese Artists' League in Taiwan as his career began to gain momentum. Ang Kiu Kok's works are strongly influenced by modern and cubist expression;. particularly reminiscent of George Braque. As a young artist, Ang studied with cubist pioneer Vicente Manansala. However unlike Manansala, Ang's works are not obviously charged with social or political messaging, and he refrained from painting genre scenes. Ang preferred instead to focus on objects or scenes which could be purely abstracted - still lifes, animals, people, landscapes, or views through open windows. He focused on dynamic tension within his works, creating this through the strong subversion of shapes; tensed or interlocking limbs; ferocity amongst fighting animals; the taut, geometric arrangement of his still lifes or junkscapes. Particularly, the granulated texture of his brushwork became a primary characteristic of Ang's. The objectivity of his content is contrasted against the strength of the emotional response simulated by the subjects: a slavering dog, a cat with rising hackles, or a man caught in a silent scream. The subjects are quintessentially Filipino in nature, but born of a subtle love for commonly seen things or people rather than a dramatized idyll or societal eulogy. Yet Ang captures the underlying sentiments through hard-edged expressionist nature of his painting which symbolized the do-or-die atmosphere of 20th century Philippines. Dogfight (Lot 152) is a classic example of Ang's iconic fighting dog paintings. A scene which the animal-loving Ang witnessed frequently around his home in Quezon City is recounted here. The artist blends a fascinated admiration for the dogs, magnificent in their fury, with a detached artistic observation of their frenzy. The slavering, violent propensity of these compositions indicates a harsh reality of Darwinian survival, while the bright red of the background evokes a tantalizing sense of danger. Ang's skill at accurately depicting the musculature and anatomy of the dogs (in spite of his Cubist technique) is inimitable; drawn from his lengthy observation of the animals as seen through the other works within his series where they are shown in quieter semblances; lifting a leg, scratching themselves, or howling at the moon. An exception to Ang's generic subjects are his religion-oriented paintings. A faithful Catholic, Ang created an extraordinary series of works depicting the Crucifixion. These are exceptionally powerful, with a foundation of religiosity but approached through the eagle eye of Ang's artistic vision. Strong colors, dense lines, and boxy shapes are hallmarks; as Ang interrogated the various attitudes by which the figure of Christ could be arranged within a tight spatial arrangement. The angular spikes of the crown of thorns juxtaposes against impaling nails and muscular, strained limbs of Christ, either tightly contorted within a rectangular format; or stretched out and taut in a linear plane, as seeen in Christ Crucified (Lot 154)
Auction: Sotheby's -Oct 6, 2013 - Hong KongLot number: 390
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390 Ang Kiukok 1931 - 2005 FISHERMEN Signed and dated 92 Oil on canvas 94 by 184 cm.; 37 1/2 by 72 1/4 in. Estimate 550,000 - 750,000 HKD Print The work is in good condition overall, as is the canvas, which is clear and sound. Indication of light wear and handling is evident around the edges of the painting inherent to the framing process, but the paint layers are well-preserved. Under ultraviolet light examination reveals no evidence of restoration. Framed.
Auction: Leon Gallery -Sep 28, 2013 - MakatiLot number: 139
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139 Ang Kiukok 1931 - 2005 "Fish 1" Signed and dated 1975 (lower right) Ink on paper 8" x 11" (20.32cm x 27.94cm) P 80,000 Provenance: Acquired directly from the artist. The piece is accompanied by a certificate issued by Mr. Andrew Ang confirming the authenticity of the lot. Kiukok paints fish with all their bones exposed and intentionally avoided the scale and skin as these would render them too realistic. From being dark, foreboding, and even grim, Kiukok's fish series steadily evolved with years to become more celebratory and upbeat. This work from 1975 straddles that transitory period, the cusp, where he moves, as it were, into the light.
Auction: Christie's -Nov 25, 2012 - Hong KongLot number: 212
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ANG KIU KOK (Filipino, 1931-2005) Still Life with Fruit signed and dated 'Kiu Kok 67' (lower right); inscribed 'STILL LIFE OIL 1966' (on the reverse) oil on canvas 85 x 85 cm. (33 x 33 in.) Painted in 1967 Christie's Hong Kong, 28 April 2002, Lot 49 Acquired from the above by the present owner Private Collection, Texas, USA Within Southeast Asia, the Philippines in particular have a very strong tradition of Cubism-influenced modernist painting in the mid-20th century. Some of its top exponents include Vicente Manansala and Anita Magsaysay-Ho who can be considered the forefront pioneers of modernism. However the next generation of artists coming to prominence in the 1960s and 1970s, such as Ang Kiu Kok, Jose Joya, Arturo Luz, Federico Aguilar Alcuaz and Romeo Tabuena among others are also highly critical in the development of the modernist visual aesthetic as we know it today. Ang Kiu Kok, after Vicente Manansala, can be considered as the most expressive and complex Cubism-influenced Philippine artist, and in fact he was mentored by Manansala in his formative years. His works range from bold still lifes to landscapes to figures of Christ on the Cross with remarkable emotional depth despite their modernist technique. Displaying a highly unique compositional style which bears certain similarities to George Braque or non-figurative works by Fernand Leger, Ang was frequently invited to show overseas in the later part of his career. Still Life with Fruit (Lot 212) is a superb example of his tightly composed still lifes with bright color blocks of blues, reds and yellows, against a black background plane. His Cubist style is strongly in evidence and, from the relatively early date of 1967, still reveals traces of his direct influence from Vicente Manansala. However the placement of the fruit on the plates and the shadings of white and black to enable a certain sense of contouring, despite the flatness of the cubism, are characteristic of Ang, and continue to persist in later works despite his eventual cultivation of a more relaxed aesthetic as opposed to the formalist mode of the 1960s and early 1970s. In the Drawing Room (Tres Marias) (Lot 213) is part of Federico Aguilar Alcuaz's acclaimed Tres Marias (Three Maidens) series. Depicting an idealized triumvirate of young girls, often clad in elaborate Spanish-style gowns, the Tres Marias paintings represent a romantic, softer side to Alcuaz's oeuvre, in comparison to his other strictly modernist still lifes and landscapes. Often taking place in drawing rooms or boudoirs, the world of the Tres Marias generally tends to be a feminine domain. However in In the Drawing Room, a male figure is unusually present, lending a touch of relaxed, urban masculinity to the scene, while one of the girls is only visible from her reflection in the mirror. The entire scene is charmingly and intimately presented, supposedly in a drawing room of the Manila Hotel, a Spanish colonial hotel and celebrated spot for social figures, politicians, artists and entertainers to gather. Romeo Tabuena is best known for his depictions of local landscapes such as farms, carabao, nipa huts in oil and watercolor formats. Often rendered in jewel-toned colors and interlocking cubist-influenced shapes, his earlier works maintain a sense of translucency and fluid form while those from his later "Mexican" period are more opaque and have a stylized "blocky" quality which brings to mind the abstract works of another counterpart, H R Ocampo and the aesthetic of Mexican muralists. Hilltown Beat (Man Smoking a Cigar) (lot 214) is a particularly engaging example of Tabuena's later style, skillfully composed and executed despite its apparent simplicity. Depicting a man in a sombrero smoking a cigar, it expresses a lively joie de vivre.
Auction: Christie's -Nov 30, 2008 - Hong KongLot number: 385
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ANG KIU KOK (The Philippines 1931-2005) Dried Fish signed and dated 'Kiukok 63' (lower right); signed and titled 'AngKiu Kok, Dried Fish' (on the reverse) oil on canvas 22 x 26 in. (56 x 66 cm.) Provenance Gift from the artist to the owner. Thence by descent to the present owner. Literature World Today, Hong Kong, 1963, Cover page (illustrated incolor)