Christie's /Nov 27, 2005
€6,057.98 - €7,709.77
Artworks in Arcadja32
Some works of Arturo LuzExtracted between 32 works in the catalog of Arcadja
Auction: Larasati -Jan 18, 2014 - SingaporeLot number: 40
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040 Arturo Luz Musician and Cyclists 2003 acrylic on canvas laid on panel 91 x 122 cm signed on lower right, authenticated by the artist on the reverse S$ 12,000 - 15,000 US$ 9,600 - 12,000 Provenance: Anonymous sale, Sotheby's, 9 October 2005, Singapore, lot 76
Auction: Christie's -Nov 24, 2013 - Hong KongLot number: 150
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Lot Description ARTURO LUZ (Filipino, B. 1926) Candle Vendors signed 'arturo' (lower centre) oil on canvas 77 x 123 cm. (30 3/8 x 48 3/8 in.) Painted in 1952-1954 阿图罗．卢兹 蜡烛商贩 油彩 画布 1952-1954年作 款识：arturo (中下) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Literature Cid Reyes, Arturo Luz, Ayala Foundation and The Crucible Gallery, Philippines, 1999 (illustrated, p. 93). View Lot Notes > Candle Vendors (Lot 150) is an exceptional, early work from leading modernist painter Arturo Luz. Best known for his later geometric figurations from the 1960s and after, Candle Vendors is a rare glimpse of Luz's earliest influences and his strong socio-political sentiments within the compositions from this period. In 1950, around the time of Luz's first solo exhibition, he became closely associated with a group of artists known as the Neo-Realists, who included Vicente Manansala, Romeo Tabuena, HR Ocampo and Cesar Legaspi; and were influenced by Fauvism, Cubism, and other modern theorists. The Neo-Realists painted excerpts from everyday life in the Philippines: marketplace scenes, sabungeros, jeepneys, and barong-barong - or squatter shanties - a favourite subject amongst them. From this period, Luz developed a series of acclaimed and prize-winning works; revolving around characters he observed from his daily activities and representing the social spirit of working class Filipinos. The earliest of these works were Los Barrachos, depicting neighbours affably carrying home a drunken compatriot; and this present lot, Candle Vendors depicting three candle-selling women in the marketplace engaged in an afternoon of gossip and each other's company. Candle Vendors appears to be only one of two Luz works dating from 1952 which still retains stronger elements of figural detail. In spite of the elongated limbs; the blocky, geometrical forms through which the physiques of the women and their candle-bearing utensils have been composed; as well as the shallow visual plane employed by Luz; Candle Vendors nonetheless displays distinguishable facial features, clothing, and minor details such as the candle wicks and grain of the wooden table. By the time of other works such as Skipping Rome or Flower Vendor (painted in the same year), Luz had disposed of this sense of recording detail. Instead his paintings now sought to efface superfluous additions and focused primarily on shape, form, and space. Figures became increasingly stylized and modernist, losing all sense of individuality or frisson between people. The camaraderie seen within the Candle Vendors was replaced instead with objective juxtaposition to create artistic effect. Luz worked on Candle Vendors for another two years until 1954 before deeming it complete, although by this time he had moved on completely to a new artistic vocabulary. Candle Vendors remains an outstanding legacy from the early days of Luz's career, revealing the society he enjoyed and his intention to immortalize it within his works.
Auction: Christie's -Nov 26, 2006 - Hong KongLot number: 49
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ARTURO LUZ (b. The Philippines 1926) Estudiantina (Travelling musician) enamel on canvas 45 5/8 x 32 1/8 in. (116 x 81.5 cm.) The primary preoccupation of Arturo Luz is to explore all variations and possibilities of lines. In the works of Luz, the quality of drawing is the single most important quality in rendering the works with visually novel and challenging compositions of linear forms. "Fernando Zobel once said 'Bright colours cancel each other out.' If you use colours in excess, the effect is drab. The colours kill each other instead of enhancing each other. But just look at a Zobel painting. It's almost nothing but black and white tomes, and suddenly this little strip of brilliant explodes. The painting is beautiful, because colours has been used with restraint and skill." (Cid Reyes, Arturo Luz, Ayala Foundation and the Crucible, Manila, 1999, p. 16). "I cannot paint flowers. They are by nature too decorative and pretty. I like things that are very stark, elemental, simple, like a stone, a shell." (Ibid., p. 26). The renunciation of colours would be another characteristic of the work of Luz which he explained in many occasions, "I admire artists for loving colours. But I couldn't possibly go that way. It is not in my nature to be gaudy. A colourful painting is something I can admire. But is also something I will never do." (Ibid., p.50). Lineal aesthetics, architectural chic and a monochromatic tendency, these words describes the work of Arturo Luz but no one expounds the principle of painting better than the artist himself, "Everything I do I invent. I invent my material, I invent my own anatomy. I am after the gesture of the figure, the bone, the structure, and not the surface." (Ibid., p. 67). Provenance Alfredo J. Luz, Manila. Thence by descent to the present owner. The artist has kindly confirmed the provenance of the present lot. Lot Notes "The constructional tendency easily identifies itself with the immediate post war pioneers of the modern art movement in the Philippines. Vicente Manansala and Arturo Luz fit in this category. Both artists, in their individual idiom, are pushing this direction to a point of refinement where the perceiving sensibility operates in instant oneness with the essence-reducing tectonic activity. Thus, Luz makes a procedural statement such as 'I start with a definite figure in a particular stance. Then I geometricise. But I do not impose geometry on the figure. The ordering springs from the figure. I reduce it to its essenceand I do this almost mathematically.' " (Cid Reyes, Arturo Luz, Ayala Foundation and the Crucible, Manila, 1999, p. 37.). The words of Dr. Rod Paras-Perez and the quotation he used from the artist aptly sums up the essence of the work of Luz. It is strange that for a composition that is approached with such a clinical and mathematical manner could be richly evocative of a poetic elegance that tickles ones imagination. Painted in 1957 Estudiantina is one of the earliest attempts of the artist's foray into the musician subject which he continued to develop over the years, in fact, one which he continues to explore today. Painted after the artist's one year stay in Madrid in 1954, the title of the work referred to a band of young students who the artist chanced in the street of Madrid. In this aspect, the present work is a fine prototype which offers a glimpse at the origin of the celebrated musician series. It is therefore significant to see the 'first musician' in a fuller form then its later version. Eventually the torso of the subject would be completely geometricised to mere triangle and his arms and legs would be unabashedly lineal. Nevertheless, this first prototype contains the quintessential elements of the Luz, which the inter-play of lines and geometric forms creates a balance and harmony that is as elegant as it is poetic.
Auction: Christie's -Nov 27, 2005 - Hong KongLot number: 30
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ARTURO LUZ (b. The Philippines 1926) Cyclists signed and dated '1960' (lower right) enamel on board 24 2/5 x 39 in. (61 x 97.5 cm.) Pre-Lot Text Received initial art training from Pablo Amorsolo (brother ofFernando Amorsolo). Went to California College of Arts and Craftsin Oakland on a scholarship for his Diploma studies, followed by ashort course in Brooklyn Museum's art school in New York. Furtherstudied at Academie de la Grande Chaumiere in Paris, where he heldhis first solo exhibition at the Raymond Duncan Gallery. ManilaHotel marked his first exhibition in his native country sincereturning from his travels in the United States and Europe.Participated in several international exhibitions including thePhilippine Cultural Exhibition held in New York in 1953, 11th SaoPaolo Biennale in 1971 and the 8th British International PrintBiennale in 1984. Started the renowned Luz Gallery in 1960, Manila,which was responsible for providing platforms for many emergingFilipino artists, as well as showcased important Modern andContemporary Art exhibitions. As Director of the Museum ofPhilippines in Art in the 1970s, the best modern and contemporaryPhilippines art collection was assembled under his leadership. In1978, he was awarded the Order of Chevalier des Arts et Lettres bythe French government and The Philippines National Artist Award forPainting in 1997.