#arturoluz

[tnaoh-blog]

[viscountpaul]

Works of some of our talented painters - #SeverinoPablo, #JuanLuna, #FabianDelaRosa, #FelixHidalgo, #RicartePuruganan, #ArturoLuz at the #NationalGallerySingapore #ProudtobeFilipino #ProudPinoy 😍🇵🇭 . . #PAULarga #PAULcation #viscountpaulsays #viscountpaultravels #viscountpaul2022 #happyviscountpaul #metime #quiettime #igersph #igdaily (at National Gallery Singapore) https://www.instagram.com/p/CfOoWe6JKTQ/?igshid=NGJjMDIxMWI=

[revcruz]

Tempus Fugit #art #artph #illustration #digitalillustration #digitalart #clipstudiopaint #doodle #drawing #clipstudiopaintillustration #timelapse #makeartlikethemasters #artist #childrensbookillustration #characterdesign #artistsoninstagram #arturoluz #rip #tribute https://www.instagram.com/p/CPX8ronHtnh/?utm_medium=tumblr

[indiobotod-blog]

Abstraction but not Luz 🎨📷 #ArtCenter #sculpture #painting #abstract #modernart #nationalartist #wheninmanila #artph #art #artwork #asianart #asianartist #stilllife #visualarts #design #ContemporaryArt #artexhibit #artgallery #artwallk #contemporaryphotography #photography #conceptualart #ArturoLuz #asia #southeastasia (at A.R.T. Center)

[rurouni-neko]

cities of the past - rajasthan by n.a. arturo luz #citiesofthepast #citiesofthepastrajasthan #acryliconcanvas #painting #arturoluz #arturoluzart #nationalartist #museoorlina #museum #tagaytay #cavite #calabarzon #region4 #itsmorefuninthephilippines #mobilephotography #art #artsycatsy #pinas #wanderingcat (at Museo Orlina)

[crearcarte]

在菲律宾逛美术馆？这篇入门要收藏

在菲律宾逛美术馆？这篇入门要收藏

发表时间:半天前 作者:幸运城 更多文章

菲律宾最知名的艺术形式已有几个世纪的历史了，而实际上它在过去并未被当做艺术——这就是bulol，伊富高人雕塑的神圣木雕像，几个世纪以来，这些雕像一直被用来保护水稻田。雕刻家的名字极少被记录下来，但年老的伊富高人通常能根据雕像的风格辨认出它的出处。其复制品遍布菲律宾全国的纪念品商店。

想了解更多？点击看我我之前的帖子《正在消失的世界遗产——菲律宾伊富高梯田》

现代菲律宾雕像的代表作是位于卡洛奥坎市（Caloocan City）的吉列尔莫·托伦蒂诺（Guillermo Tolentino）的新古典主义杰作——纪念革命英雄安德烈斯·博尼法西奥（Andres Bonifacio）的辉煌纪念碑（Monumento）。

博尼法西奥是领导菲律宾人民武装反抗西班牙殖民统治的民族英雄。

另一个游客会注意到的名字是何塞·门多萨（Jose Mendoza），他的作品装饰着菲律宾首都马尼拉市中心马卡蒂（Makati）的街道。

何塞·门多萨（Jose Mendoza）雕塑作品

西班牙统治时期的绘画界，要首推两位首屈一指的菲律宾艺术大师——胡安·卢纳（Juan Luna）和菲利克斯·瑞瑟·伊达尔格（Felix Resurreccion Hidalgo）。卢纳宏大的Spoliarium和伊达尔格的《俄狄浦斯和安提戈涅》（Oedipus and Antigone）在1884年久负盛名的马德里博览会（MadridExposition）上分别获得金奖和银奖，令整个欧洲艺术界为之一震。

Spoliarium——胡安·卢纳（Juan Luna）

《俄狄浦斯和安提戈涅》（Oedipus and Antigone）——菲利克斯·瑞瑟·伊达尔格（Felix Resurreccion Hidalgo）

20世纪初，艺术大师法比安·德·拉·罗萨（Fabian de la Rosa）和费尔南多��阿诺索罗（Fernando Arnorsolo）在菲律宾艺术界开始崛起。德·拉·罗萨的作品以受过严格训练的构图和绘画技法而闻名，而阿诺索罗则以自由流动的印象派的风格描绘典型的菲律宾乡间风光。

法比安·德·拉·罗萨（Fabian de la Rosa）画作

费尔南多·阿诺索罗（Fernando Arnorsolo）画作

“二战”以后涌现出来的菲律宾现代主义画家，你应该记住这几个名字：维森特·马南萨拉（VicenteManansala）、阿图罗·卢兹（ArturoLuz）、何安妮塔·麦格赛赛·何(AnitaMagsaysay Ho)、费尔南多·佐贝尔（Fernando Zobel）和埃尔南多·奥坎波（Hernando Ocampo）。

（上二图）维森特·马南萨拉（VicenteManansala）的作品

（上图）阿图罗·卢兹（ArturoLuz）作品

费尔南多·佐贝尔（Fernando Zobel）在成为这个国家最重要的抽象派艺术家之前，曾尝试过立体主义画法。下面是他的代表作：

（上图）费尔南多·佐贝尔（Fernando Zobel）作品

（上图）埃尔南多·奥坎波（Hernando Ocampo）作品

当然，不要忘了才华横溢的华裔画家洪救国（Ang Kiukok），他师从麦格赛赛。现在先欣赏一下他老师何安妮塔·麦格赛赛·何(AnitaMagsaysay Ho)的作品——

再感受一下洪救国的艺术风格。他狂放的立体主义作品，如斗鸡、流浪狗和饱受折磨的爱侣等，让人大开眼界。

当代菲律宾艺术一如既往的朝气蓬勃。旅居英国的观念艺术家大卫·科尔特斯·米达拉（David Cortez Medalla）领导了例如极简主义和行为艺术这样的先锋艺术运动。

（上图）大卫·科尔特斯·米达拉（David Cortez Medalla）代表作

除了被国际上广为接受以外，有良知的艺术家贝内迪克托·卡布雷拉(Benedicto Cabrera, “Bencab”)为当代艺术的发展倾注了大量的心血，并在碧瑶创建了艺术家胜地——坦阿万村（Tam-awan）。

好了，记住上面那些名字，就可以在逛美术馆的时候和妹子愉快的聊（zhuang）天（bi）了~~土著哥祝大家都能玩的开心！

（地址）

声明：本文由新闻源或入驻作者撰写，除博牛官方账号外，观点仅代表作者本人，不代表博牛立场.

本文采纳自社区会员"菲律宾土著"的发表,点此进入原帖与作者讨论>>

分享到： QQ空间 微博 腾讯微博 微信 更多

[creaete]

Suddenly, the routine changed. #goodmorning #ArturoLuz #paintings (at BenCab Museum)

[sigsawpuzzles]

#Artwork inspired by one of the works of #ArturoLuz because my students had extra acrylic paints #Artist #ArtTeacher #FilipinoArtist

[miguelpaolocelestial]

Maggie Squiggly.📎 #arturoluz #sculpture #art (at Ayala Museum)

[cutfelt]

BATCH 2004 Arturo Luz represent 😅😂😭😁🙌 #art #artph #ArturoLuz #silverlensgalleries (at Silverlens)

[mindofisabella]

Paulina Sotto , #isabella , @kuhledesma and National Artist #arturoluz

[bwhighlife-blog]

That's the way I like a Leica

Arturo Luz and photography. Design is everywhere. Collecting cameras is cheaper than collecting mistresses.

INTERVIEW SAM L. MARCELO | PHOTOGRAPHY JASON QUIBILAN

      "All collectors are insane, but I am a fortunate kind of collector because I know when to stop. I am not a fanatic."   

  Despite lacking a number, the house of Arturo Luz is easy to locate. It is a white box that reflects the aesthetics of its owner so well that it needs no identification. “I was a dream client,” says Luz, 86, who didn’t change a single line in architect Ed Calma’s plans. One would expect that pleasing a man of Luz’s caliber would be more difficult. He is, after all, a National Artist of the Philippines for Visual Arts, and founding director of both the Metropolitan Museum and the Design Center of the Philippines. He is sitting in his second-floor studio, at a long table covered with plastic pen holders filled to the brim with either yellow Mongol pencils, sharpened points up, or paintbrushes, bristles blooming toward the high ceiling. This is where he spends his life, working from morning to midnight, seven days a week. Books arranged by topic share shelf space with artifacts from the Majapahit Empire as well as stacks of Luz’s work.

     Like Matisse, the octogenarian is an old dog who has no problem learning new tricks. Though primarily known as a minimalist abstract painter, Luz has decided to make an earnest attempt at photography. A show at Manila Contemporary in Makati City is scheduled for mid-April, and it is here that Luz will share still-life photographs along with his paintings. “Photography will never be as important as my painting and sculpture but I will continue with it,” he says. “It’s like everything else: you start it and then you must master it — there is no other option. I will learn to be a photographer. What that really means is that I must find the simplest way to do my photography, which is what I’ve always done in my life. I find the simplest and most obvious way of doing things. The obvious is always the most difficult. People tend to complicate everything. I’m a great believer in simplicity.”

     This interest in photography is an offshoot of the National Artist’s newfound love for well-designed cameras possessing the same clean straightforward lines of his house. Stored inside a cabinet in his studio, still boxed, are rangefinders and point-and-shoots from Leica, a German manufacturer adored by Luz. He has just started his collection and he is eager to talk about it. In this interview, Arturo Luz, collector of cameras, is a garrulous departure from Arturo Luz, the artist notorious for clamming up when questioned about his work. “Any other topic I would run,” he admits. “Can you imagine people confronting you and asking: ‘Why do you paint?’—oh my God, that’s enough to kill you,” he says. “‘Why do you collect’— that’s a little easier.”

HL : How many cameras do you own?

AL : I have an assortment of all sorts of cameras—Mamiyas, Hasselblads. There’s really no discipline in the way I’ve been collecting. I have nice cameras and not-so-nice cameras but I’m starting anew with a concentration on Leicas: as many as I can find and as many as I can afford. I love Leica. I have very few—not enough. I just started two months ago but give me time.

HL : Why Leica?

AL : Leica cameras are very well made and beautiful. They feel so solid in the hand. The making of a Leica is uncompromising, just like the making of a Mercedes Benz. You have to admire that. My most recent purchase was the D-Lux 5, one of the smallest Leica cameras made. It’s a point-and-shoot toy—the cutest little thing—but I’ve taken pretty good pictures with it. You just turn it on and start shooting. There’s nothing for you to do except to put it on automatic. I also have the M8 and the M3; Leica’s M series is supposed to be great and the M3 is supposed to be a classic. But the camera I depend on for everything—still life, portraits, you name it—is the X2, a tiny camera that takes wonderful shots.

HL : Is there a particular Leica model you’re itching to get?

AL : Well, I just got the Leica IIIc. Now I’m looking for the Leica I and Leica II, cameras manufactured from about 1925 to 1940. I will be so happy to get them. I’m sure we’ll fi nd them. After that, I have no idea what I’m going to look for next. I take it one camera at a time. I don’t want to give someone a list of 10 cameras I want because that would spoil the thrill of the hunt. All collectors are insane, but I am a fortunate kind of collector because I know when to stop. I am not a fanatic. At a certain point, you realize that you’ve done enough and you move on. A real fanatic would never stop.

HL : Aside from the cameras you’ve already mentioned, what else is in your collection?

AL : I love using my Hasselblad but it’s so complicated to load. I used it only once for a series of 15 to 20 black and whites that will be shown at Manila Contemporary in mid-April. I never used it again. The Hasselblad is the kind of camera that you show around. Listen, I’ll tell you a secret: holding a Hasselblad improves the quality of your image because you become A Man Who Owns a Hasselblad. Fuji put out a very nice little camera, the X100, which I already have. I also have an Olympus OM-1 and an Aires 35. I got the Aires for a very simple reason: it’s a complete copy of a Leica. It looks and feels right. Minox released a fantastic miniature digital replica of the M3, and I must have it. I want a sampling of good Japanese cameras from the 1950s period. I also have a 40-year-old Mamiya 645, which I inherited from my eldest daughter. She became an amateur photographer—not very bad, not very good. She had a few cameras and the Mamiya was one of them. It’s fitting that I should have it because she stole all of my cameras when she was in her photographer phase. She also commandeered a little room in the garage of our old house and turned it into a darkroom. She did her own printing without studying. After photography, she learned to sing and became a rock star. She died at the age of 27 from cancer. She was such an active person that every shot she took came out blurred. That’s the kind of girl she was—a super girl, a dynamo. Her name was Paola Luz and all her photos were blurred because she never stopped.

HL : Why collect cameras in the first place?

AL : I have a little thing about collecting in my body. I have collected things all my life and now that I’ve gotten very, very old, there is nothing else to collect except cameras. I have collected shells, plants, orchids, antiques of all kinds—what else is there to collect?Cameras. As I told my wife: Collecting cameras is much cheaper and much easier than collecting mistresses. Camera collectors are all crazy but it’s a very nice way of being crazy. What is the pleasure of the collector of cameras? You wind it, press the shutter button and listen to that clicking sound. I suppose every camera has its own sound. When digital cameras first came out, I used to insult my friends—jokingly, of course—by telling them that if a camera didn’t make those whirring and clicking sounds, it was a fake. I don’t think that way now. For me to use a camera, it must be digital. I don’t have the patience to use film anymore. Another reason for collecting cameras is that I like to take photos.

HL : I hear you’re taking photography lessons.

L : Yes, I am taking lessons. I’m a zero when it comes to photography. I know what I want to see and I know what I want to do with what I see, but when it comes to the technology—forget it. I’m lazy when it comes to technology. For example, a Nikon or Canon digital camera typically has 70 or more functions. I know about three and I can’t even remember them. So what I do is I cut little pieces of masking tape and put them near the dial; otherwise, I’ll never fi nd them. That is how expert I am. I get so frustrated.

HL : What do you like shooting?

AL : I see design in everything, literally everything. You can take me to the most horrible place and I will find something. I suppose it’s because I’ve been trained to be that way. I was cleaning my studio and I came across some of my old travel photos, which I took more than 20 years ago. The happiest days of my life were spent taking these photos over a 10-year period, usually in India. In India, you can go to any city, any street corner; stand there and take photos. You will come up with millions of photographs—all of them beautiful—from one corner. Goats, sheep, people, bicycles, everything. I love India. I went back there every year for a decade. I had a Nikon wide-angle on one shoulder, a 300-mm. telephoto on the other. I had so much energy then. I would run around all day with those two cameras and take photos. I used to bring 80 rolls of fi lm for those two-week trips. When I got back, I would have about 1,500 photographs. I’d edit and come up with about 100 nice shots. That’s how it worked out. One of my absolute favorite pictures is what I call The Woman of the Desert. It’s a portrait of a woman with a burned face, which is what happens when you’re out in the sun. The truth is, I love photography and I love beautiful women.

HL : What are your goals when it comes to photography?

AL : If I’m doing very realistic photography now, what is the next step? I have ideas—they’re not perfect answers but they are beginnings. One idea concerns multiple images. I cut up my proofs and join them up. They’re photo collages, which I do for fun just so I don’t waste my proofs. When I shoot something, there are five to eight frames—test shots, which I cut and combine. The one thing I have not done is to combine photos with paintings. I haven’t done it but I will and I should. Another thing that I would like to do, but probably will never get do because I have a bit of difficulty moving around—my legs are somewhat weak—is go around Pasig, Makati, Manila, wherever and come up with a series of photographs called Design is Everywhere. It’s almost like a challenge: Bring me to the most dismal environment and I will find design in everything I look at. That would have been great but I’m too old.

HL : Do your photographs have the same ‘feel’ as your paintings?

AL : I studied design and color for four years and, really, those things were pounded into my head. With me, it’s automatic: I see design immediately. This is why my art is the way it is: very linear, very spare, very simple, very architectural. I suppose this will eventually extend to my photography because I design poses when I’m taking pictures. I ask models to keep changing their position, then I edit. I tell a model to do things with her hands, and then I correct her by telling her to drop an arm or put it up. Mostly, what I’m trying to capture is a very natural series of poses by a person, as quietly directed by me. The eyes are terribly important when you’re posing. Where to look, the expression—all of that comes into play, too.

HL : What makes a good photograph?

L : Technically: clarity, good tone, and good color. But above all, the subject must be good whether inanimate or live.

HL : Do you have a favorite photographer?

L : David Hamilton. My only interest is how in the hell this man takes his pictures. Nobody has been able to solve it. It’s a kind of technique where it’s a little blurred and hazy but so expressive and so evocative. It’s a very strange kind of romantic photography. Nobody I’ve met has been able to explain to me how Hamilton does it. He’s an amazing guy.

HL : Can all good painters become good photographers? 

AL : Yes. 

HL : Really?

AL : Why should you be surprised? Painting, photography—they’re all visual arts. The only thing a painter might lack is a grasp of the technology of photography. But having solved that, a good painter will, of course, be a good photographer because the same rules apply. A good painter will make a good sculptor, a good printmaker, and a very good photographer if he wants to be one. Even a good dancer, because he’s got it.

HL : You’re a good dancer, I take it.

AL : I was. I’ve retired but I danced vigorously for five years and really enjoyed it. I wasn’t bad. 

[revcruz]

“Never mention sales and money in relation to art. They have no significance. It’s not fun to buy art for investment. It relates to value, not beauty.” Illustrating artists as characters using their own style (or as similar as I can). A Philippine National Artist awardee for today, whose early work were described as influenced by Paul Klee (the previous character). Who's this famous artist? #art #artph #illustration #digitalillustration #digitalart #clipstudiopaint #doodle #drawing #clipstudiopaintillustration #timelapse #makeartlikethemasters #homeschool #artist #childrensbookillustration #characterdesign #artistsoninstagram #homeschoolglobal #arturoluz https://www.instagram.com/p/CNcuDjtnPNA/?igshid=1dh2ecsg975w

[indiobotod-blog]

A// Arturo Luz 🎨📷 #ArtCenter #sculpture #painting #abstract #modernart #nationalartist #wheninmanila #artph #art #artwork #asianart #asianartist #stilllife #visualarts #visiblewomen #design #ContemporaryArt #artexhibit #artgallery #artwallk #contemporaryphotography #photography #conceptualart #ArturoLuz #asia #southeastasia (at A.R.T. Center)

[rurouni-neko]

homage to eduardo chillida by n.a. arturo luz #homagetoeduardochillida #eduardochillida #arturoluz #arturoluzart #nationalartist #museoorlina #museum #tagaytay #cavite #calabarzon #region4 #itsmorefuninthephilippines #mobilephotography #art #artsycatsy #pinas #wanderingcat (at Museo Orlina)

[cesstozero]

Correct!!! Hahaha! 😁😁😁 #ArturoLuz #LeicaCollector