Artworks in Arcadja64
Some works of Benedicto CabreraExtracted between 64 works in the catalog of Arcadja
Auction: Sotheby's -Oct 6, 2014 - Hong KongLot number: 322
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Benedicto Reyes Cabrera B. 1942 UNTITLED Signed and dated 1970 Mixed media on paper 67.5 by 35 cm.; 26 1/2 by 13 3/4 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice The work is in good condition overall, as is the paper which is free from foxing. There is evidence of minor wear and handling around the edges of the painting, but the paint layers are well-preserved and bright. Examination under ultraviolet light shows no sign of restoration. Framed, under Plexiglas. "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."
Auction: Leon Gallery -Sep 28, 2013 - MakatiLot number: 146
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146 Benedicto Cabrera 1942 Barefoot Gentleman Signed and dated 2007 (lower right) Acrylic 36" x 24" (91cm x 60cm) P 1,100,000 Bencab's skill in illustration cannot be denied, having honed his talents early on in his youth and in his employment in the publishing industry. With a penchant for capturing people -- again, a preoccupation that harks back to his youth -- this work of a gentleman seated in pose shows us his love and keen interest in people from all walks of life.
Auction: Leon Gallery -Jun 29, 2013 - MakatiLot number: 3
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Benedicto Cabrera 1942 Mother and Child Etching 10" x 8" (25cm x 20cm) Signed 1993 P 8,000 Bencab, National Artist, has always been attuned to his surroundings and its people. With a keen eye, Bencab has been able to masterfully capture ordinary characters from everyday life such as those immortalized in these two etchings on paper – Mother and Child and Laharman. His adeptness in the art of printmaking – which has been described as one of his first loves – takes front and center in these fine examples.
Auction: Christie's -Nov 25, 2012 - Hong KongLot number: 129
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BENEDICTO REYES CABRERA (BENCAB, Filipino, B. 1942) Dancing at Rock Session signed and dated 'bencab 87'(lower right) acrylic on paper 73 x 54 cm. (28 3?4 x 21 1?4 in.) Painted in 1987 Kip Yuson and Cid Reyes, Bencab, Manila, The Philippines, 2002 (illustrated, p. 222). Manila, The Philippines, Luz Gallery, 1987. Highly acclaimed artist Benedicto Cabrera - or better known as Bencab - is most acclaimed for his human figures clad in distinctive folds of draped clothing. Excelling in capturing the swirl of fabric and its natural fluid grace when cast in dynamic motion, the artist frequently depicts his subjects in varied positions so as to best explore the myriad possibilities of this expressive motif. Cid Reyes comments: "The impetus for Bencab's interest in drapery is the same as classical Greek sculptors - movement. With drapery clinging to the human body, and the propulsion induced by the body that has now been "stilled" in three-dimensional form, the viewer's eye follows the direction impelled by gesture or wind. In short, drapery becomes an instrument of energy." Dancing at Rock Session (Lot 129) is part of Bencab's group of works on individuals caught in the momentum of dance. It eloquently expresses his preoccupation with drapery and movement, but also captures a sense of impassioned zeal for life, seen through the flailing limbs and wind-tossed hair, as the dancers abandon themselves to the rhythm of the music. In particular, Dancing at Rock Session is about the energy between two people, lovers, as they immerse themselves in the dance and each other. Caught in the moment, they are youthful, graceful, and deeply sensual. Reyes also observes: "Here bodies are whipped into a frenzied swinging, whirling to the infectious delirium of disco music in the late 1980s and early 1990s. These [dance] works convey the spirit of dance in Western and Indian art, depicting a joyful dazzle of bodies in movement but arrested in two-dimension." In Dancing at Rock Session, the undulating flow of the girl's dress is representative of Bencab's style of portraying draped fabric. Face pressed to the shoulder of her partner, her eyes are closed as she intuitively reacts to the music. However even with his back facing the viewer, in the flare of the man's jeans, the airy quality of his shirt and the contours of his hips, we can also clearly observe Bencab's skill at simulating gesture within a few well-placed lines. Dancing at Rock Session is an energetic, optimistic work, conveying the emotions of being young and in love, where all things are possible. It masterfully captures the dominant aesthetic of the artist and also the unquenchable spirit and vigor of the rock and roll era.
Auction: Christie's -May 27, 2012 - Hong KongLot number: 2133
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Lot Description BENEDICTO REYES CABRERA (BENCAB, Filipino, B. 1942) Yellow Confetti signed and dated 'Cabrera 84' (lower right) ink and acrylic on paper 75 x 55 cm. (29 1/2 x 21 5/8 in.) Painted in 1984 Provenance From the Collection of Odo and Tess Lazatin, London, UK Acquired from the above by the present owner Literature Krip Yuson and Cid Reyes, Bencab, Mantes Publishing, Manila, The Philippines, 2002 (illustrated, p. 197). View Lot Notes › "[The political works] are testimonies to Bencab's visual dialectics, his pursuit of aesthetic motives in a spirit of rebellion. Reflecting on a phrase from Trotsky - 'the frenzied events of history' - Bencab portrayed the 1986 Edsa revolt in impressionistic terms, employing a collective surge of bodies and waving of flags' " - Cid Reyes Yellow Confetti (Lot 2133) is a dynamic and powerfully resonant work which describes the civil resistance in the Philipines during the early to mid 1980s. This period became known as "People Power" or "EDSA"; but was also called the Yellow Revolution due to the use of yellow flags and ribbons by the resisters. Celebrated Philippine modernist Bencab's works habitually reveal a mastery in describing the social condition, as seen through his acclaimed Sabel and Larawan series. However the politically charged impetus behind Yellow Confetti, coupled with the small existing body of EDSA works by the artist, elevates its significance as a rare masterpiece. Within Yellow Confetti, a mass of demonstrators throng at the right side of the composition. Fists upraised, arms flung out, they are caught in the grip of their protest. Their feet planted stolidly on the ground are unshod, signifying their status as the 'everyman' of Filipino society. The yellow confetti flutters animatedly across the entire pictorial surface as if buoyed by the winds of resistance. It is revealing that the figures only occupy half of the pictorial plane. Whatever they are protesting against is not clearly represented, and open to a viewer's specific interpretation. Possibly coming from different families, occupations, and interests, the crowd each have their own personal motivations for engaging in resistance. Only the swirl of yellow confetti fully represents the latent tensions between protesters and regime. The symbol of the yellow confetti has been used more than once by Bencab. A work dated from the same year as Yellow Confetti, "Two Filipinas in the Era of Multinationals" , depicts two girls clad in traditional clothing but arrayed with gadgets of our modern time - a handheld TV, earphones, a walkman - while holding a burger and with a crushed Coca Cola can at their feet. In 1986, the year that the Yellow Revolution ended, Bencab repainted this work as "The Edsa Event" ; where the central image was nearly identical to its prototype but the girls were this time festooned in a shower of yellow confetti juxtaposed against strips of red, blue, white and yellow paper. The motif of the confetti within Bencab's narrative has evolved into a symbol of the changing times and hope of a better future. Yellow Confetti captures the humanistic face of a period caught in a flux, articulating the passion, energy and desire for economic stability and social justice; as well as the underlying fabric and foundation of contemporary Philippines - an epoch of political history within the last thirty years.