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Vicente Silva Manansala

Philippines (1910 -  1981 ) Wikipedia® : Vicente Silva Manansala
MANANSALA Vicente Silva Nude

Leon Gallery
Jun 9, 2018
Find artworks, auction results, sale prices and pictures of Vicente Silva Manansala at auctions worldwide.
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Along with Vicente Silva Manansala, our clients also searched for the following authors:
Kusuma Affandi, Sindutomo Sudjojono, Sudarsono Trubus, Saiman Dullah, Roland Strasser, Fernando Cueto Amorsolo, Fabian De La Rosa
Artworks in Arcadja
188

Some works of Vicente Silva Manansala

Extracted between 188 works in the catalog of Arcadja
Vicente Silva Manansala -  Nude

Vicente Silva Manansala - Nude

Original 1976
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Lot number: 3
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Description: Vicente Manansala (1910-1981) Nude This image of a female nude is sumptuously relaxed; a pretext for languidness. Manansala\’s drawing of the body is lithe and rhythmic. The figure is full of sensuality. Its cadence emanates a powerfully corporeal sensation. Manansala achieves an unusual strength of light and shade. From his academic background, the artist learnt to make meticulous studies of the human form. The viewers sense a hidden erotic appeal in all of this, but Manansala did not create a carnal vision of female flesh. What Manansala really celebrates are the charms of the naked dalaga. Manansala\’s attention to line, form and volume reveals him to be a first rate observer of the human figure. The soft force of her physical presence and quality of execution could not be avoided, even for the undiscerning viewer. Manansala deals as much with the accurate depiction of the female form as with capturing the essential intangible qualities, an appropriation of feminine grace. The image of the naked woman has sculptural qualities still. Modeled by the interplay of these several lights, the figure stands out in sculptural roundness enveloped by atmosphere. Manansala delights in the rounded, lithe forms of the sleeping woman. signed and dated 1976 (upper left) pastel on paper 13\” x 23\” (33 cm x 58 cm)
Vicente Silva Manansala - Nude

Vicente Silva Manansala - Nude

Original 1974
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Lot number: 38
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Vicente Silva Manansala (1910 - 1981) Lot 38: Nude Description: Nude Dimensions: 22\” x 34\” (56 cm x 86 cm) Medium: charcoal on paper Date: signed and dated 1974 (lower left) Provenance: Provenance:Private Collection, Manila Notes: One correct title for this nude would be \“Arrangement in Gray and Black\”. Andits real subject is a mood, a mood compounded of repose, reflection, sensuality,and physical abandon. The special aura of his work is an intimacy that arousessensual curiosity but in the end frustrates it. Manansala\’s attention to line, form,and volume reveals him to be a first rate observer of the human figure. The softforce of her physical presence and quality of execution could not be avoided, evenfor the undiscerning viewer. The viewer senses a hidden erotic appeal in all of this,but Manansala did not create a carnal vision of female flesh.The figurative work deals as much with the accurate depiction of a woman aswith capturing the essential intangible qualities she portrays. The image of thenaked woman has sculptural qualities still. Modeled by the interplay of theseseveral lights, the figure stands out in sculptural roundness. Hard edges andflat passages gave way to a rounder modeling, there was more envelopmentby atmosphere; his color, while often dark, added a wide variety of grays, anda new depth and body. The note of sentiment was clearer but still reserved,implicit rather than explicit: an appropriation of feminine grace but no emotionalsituations.
Vicente Silva Manansala - Crucifixion

Vicente Silva Manansala - Crucifixion

Original 1980
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Lot number: 27
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VICENTE SILVA MANANSALA (PHILIPPINES, 1910-1981) Crucifixion signed and dated \‘Manansala 80\’ (upper right) oil on canvas 155 x 109 cm. (61 x 42 7/8 in.) Painted in 1980 This season, Christie\’s is pleased to present this dynamic and dramatic work by Filipino modern master, Vicente Silva Manansala. Painted in 1980, about a year before his passing, Crucifixion (Lot 27) is one of Manansala\’s later works that presents the Crucifixion theme in a cubist representation, and is the culmination of his years of artistic experimentation. This lot embodies Manansala\’s innovation and technical prowess that sets him apart as one of the most revered and exceptional Filipino artists, an artist at the very pinnacle of Filipino modern art. Manansala was born in 1910, at the dawn of the 20th Century; the Philippine Revolution against the Spanish and Philippine-American War had come to an end and a legacy of nationalistic sentiment permeated the art of the period through the classicistic pastoral genre scenes of Fernando Amorsolo. Manansala was spared from experiencing the hardships of his predecessors and nationalism was for him an ideology. As opposed to Amorsolo\’s bucolic images of villages, Manansala was preoccupied with capturing his own reality: the spirit of compassion and verity in rural Philippines. During his summer at the École des Beaux-Arts de Banff in Canada, Manansala was first introduced to Cubism by his teacher Joseph Plaskett; this would be one of the most formative moments in Manansala\’s artistic education and come to shape his entire career as an artist. This acute fascination with the distortion of spatial depth and natural forms led him to investigate this technique further, and he eventually developed his own methodologies based on Cubism. Speaking about his methodology, he explains, \“When I say I am a cubist, I mean that I have taken Cubism's basic elements, reorganized them and added my own, creating my own style.\” Certainly, Manansala combined his facility in watercolour developed during his time in the Philippines with his newly discovered technique in what is now known to be his emblematic style of \‘transparent cubism\’. Crucifixion is the depiction of Christ on the cross – a subject matter that Manansala often visited within his oeuvre. The artist himself was a devout Catholic, whose own profound piety found its way to his canvases through the intense affection in which he painted religious subjects. For Manansala, this theme was an opportunity to \“show the power of God in a silent manner, to express reverence and respect\”, and Crucifixion perfectly embodies this personal philosophy. This work is an excellent example of Manansala\’s late style: a combination of his iconic transparent cubism with the gestural expansiveness of his explorations into Abstract Expressionism marked by the 1950s and 60s. Unlike his earlier representations of the Crucifixion theme, which featured grieving figures of the Virgin Mary or John the Baptist, or even nondescript mourners, the figure of Christ on the cross is the sole subject of the painting and the focus of Manansala\’s Crucifixion. In this work, Manansala\’s deep knowledge of the Cubist pictorial language is greatly demonstrated through a perfect balance of representation and structure. Modelling is simplified into multi-faceted geometric configurations that periodically dematerialise into transparency, constantly shifting and overlapping in a relationship of forms that nonetheless result in a wholly integrated composition. The work is highly detailed with fine planes intersecting one another in flurry of directions obscuring and revealing spatial depth in a way that frees him from reality, yet Manansala never loses sight of the figuration in the foreground. Colour plays a starring role in Crucifixion, the artist heightening the musculature of the body with fragmented, dense interlocking planes of vermilion, cobalt and even shards of viridian. There is almost a Fauvist tendency to his work, much like the paintings of the modern French master, Henri Émile- Benoît Matisse. Although Manansala\’s works are often associated with the Cubist movement – and indeed, Cubism freed him from the necessity of representing forms in the traditional realist genres of painting, offering him a new way in which to articulate classical Filipino images; there is also a strong affinity with the emotionalism of the Fauvist movement that sets him apart from traditional Cubism, rendering Crucifixion more than just an execution of form. For Manansala, colour is a way to express an atmosphere and a mode of evoking the passionate religious sentiments associated with Christ, and its integral nature to the way of life in the Philippines. In Crucifixion, it is clear that Manansala has reached a point in his artistic practice in which he paints with a sense of maturity and confidence, the impasto evidencing the looseness of his bush. His own unique visual vernacular and symbols intersperse the periphery of the canvas, manifesting as calligraphic gestures of drips and swirls of paint, much like that of Jackson Pollock or Willem de Kooning. In an earlier work of his, Birds of Paradise – although not entirely devoid of hierarchical distinctions or lacking in figuration – we see that there is a strong sense of abstraction and all-over composition of repetitive forms, as well as interwoven gestural splotches of paint which sees him borrowing techniques and from the Abstract Expressionist movement. However, the degree of ease in which he renders the strokes in Crucifixion is truly unusual for his typically restrained approach to painting, perhaps giving way to the strong feelings that Manansala had for the subject matter at hand. Despite his varied interests in differing styles and his constant endeavours into diverse artistic enterprises, Manansala continually maintained a balanced tension between representation and structure; for him, nature is a starting point from which he departs, distilling it into a palpable furore of shapes, brushstrokes or planes that always retains a sense of coherence. Ultimately, Crucifixion finds itself alongside some of Manansala\’s most salient and mature paintings, encapsulating the artist\’s varied influence and the prevalence of a singular visual language that articulates and warmth and beauty that is unparalleled. His ability to bring a heightened sensitivity to his works through its dissection into variegated fractals establishes Manansala as a truly remarkable artist.
Vicente Silva Manansala - Landscape 1

Vicente Silva Manansala - Landscape 1

Original 1959
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Lot number: 107
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Description: Vicente Manansala (1910-1981)
a.) Landscape 1
signed and dated 1959 (lower right)
watercolor on paper
14 1/2\” x 22\” (37 cm x 56 cm)
b.) Landscape 2
signed and dated 1959 (lower right)
watercolor on paper
14 1/2\” x 22\” (37 cm x 56 cm)
Provenance: Private Collection, Makati City
Vicente Silva Manansala - Mother And Child

Vicente Silva Manansala - Mother And Child

Original 1981
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Lot number: 480
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Lot Description

VICENTE SILVA MANANSALA (Filipino, 1910-1981)
Mother and Child

signed and dated 'Manansala 81' (upper right)

oil on canvas

47.5 x 56 cm. (18 7/8 x 22 in.)

Painted in 1981

Provenance

Anon. sale; Sotheby\’\’\’\’\’\’\’\’s Singapore, 12 October 2003, Lot 66

Acquired from the above by the previous owner

Anon. sale; Christie's Hong Kong, 27 November 2011, Lot 1185
Acquired from the above sale by the present owner
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