{"status":true,"msg":{"data":{"id":26505,"auction_id":31,"set_id":52,"lot_number":"74","artist":"Fabian de la Rosa (1869 - 1937)","title":"Dalagang Filipina in Native Dress","starting_price":1200000,"signed_dated":"signed and dated 1922 (lower right)","medium":"watercolor","size":"14 1/2” x 10” (105 cm x 25 cm)","property":"PROPERTY FROM THE DON EUGENIO M. LOPEZ JR. COLLECTION","coa":null,"provenance":null,"exhibited":null,"literature":null,"write_up":"Twentieth-century master artist Don Fabian de la Rosa y Cueto, an heir to the\nartistic tradition of Juan Luna and his contemporaries, is among the greatest\nFilipino artists of all time. During his heyday, he was among the best-known\nFilipino painters, a renaissance man who acquired not only a refined artistic style but\nalso culture. Dela Rosa was the second director of the UP School of Fine Arts; also an\nart historian and writer, he wrote the first overview of art history and the first essays\non painting in the Philippines. He is particularly noted as a master of genre painting\nand portraiture of women subjects
Born on May 5, 1869, in Paco, Manila, he is the second child of Marcos de la Rosa\nand Gregoria Cueto. A child prodigy, it was noted that he could draw and paint\nbefore he was ten years old, coming of age in the period between the Spanish rule\nin its twilight and the American rule in its dawn. He received artistic training from his\nuncle, Simon Flores y de la Rosa, and was enrolled at the Escuela de Dibujo, Pintura\ny Gravura in 1893, counting among his mentors Miguel Zaragoza and Lorenzo\nGuerrero. He was also in the company of Antonio and Juan Luna (the latter was\ntwelve years his senior). Upon the death of his father, Dela Rosa left the Escuela,\npainting landscapes and portrait commissions.
Art historian Aurelio Alvero identified three overlapping periods in Fabian de la\nRosa’s artistic development. His works during the first period are influenced by the\nSpanish academic school, antedating his first travel to Europe in 1908 as a scholar\nof physician-businessman and philanthropist Dr. Ariston Bautista Lin. These are\nmarked by dark tones and technically detailed figures as impacted by academic\nart. The second period, up to circa 1925, shows influences of the French modern\nschool. The third precedes his second sojourn to Europe up to his last years in\nwhich his paintings seek atmosphere, massing, and spacing as well as a balance of\nemotiveness.
Fabian de la Rosa won his first gold medal for Planting Rice at the 1904 St. Louis\nInternational Exposition in which he unleashed the principles of drawing and\nharmonious colors as well as his nationalism in the choice of subject and local\ncolor. He fared more successfully under the new American colonial rule. Later on,\nhe traveled as a private pensionado to study in France and Spain before returning\nto Manila, further getting acclaim for his craft.
His oeuvre ranges from depictions of scenes of everyday life, idyllic landscapes,\ncommon people, and remarkable portraits of prominent Filipino personalities,\ncommon men and women, all regarded as masterworks of national and universal\nmoments. Adding life into genre painting in the country during the 20th\ncentury, his works are marked by distinct lyricism, realism, romanticism, and\nalso nationalism. His subjects, regardless of social class or color, celebrate the\nuniversality of humanity and creativity. Women were rendered in their regality as\nthey do daily activities, from planting in the rice fields to chatting and weaving.
Art critic and painter Emilio Aguilar Cruz praised Fabian de la Rosa in a 1944\ncritique he wrote for the Philippine Review: “In him the autochthonous Philippine\npainting of the last century reached full flowering, and his whole career is summed\nup all that is good in the past… De la Rosa’s greatness lies just where greatness\ndoes in any department of human activity, namely, in rising above the leveling\nsentiments and prejudices of one’s time.”\n
De la Rosa was also credited for nurturing the talents of his two nephews, the\nbrothers Fernando and Pedro Amorsolo y Cueto, in the same way that he drew his\nfirst artistic training from his prominent uncle. The Amorsolo brothers are among\nhis five orphaned relatives, and it turned out that Fernando Amorsolo would later\non become the next titan in Philippine painting.
Art critic and painter Emilio Aguilar Cruz wrote in an essay that the great\ntwentieth-century master painter De la Rosa “painted with gusto and affection\nthe things that were close to the life of the people around” and was “always\ntoo big of a man to play down to the popular demand for stereotypes\nglorifying native life for those who lacked the vitality to accept it through\nan emasculated art.” More than his vigorous genre paintings, De la Rosa is\nparticularly known for his elegant women portraits. This 1922 piece that may\nhave been that of a local woman in a traditional dress is a great example\nthat indicates the artist’s adeptness in rendering women figures through his\nsignature realist-romanticist perspective. Evident are his characteristic lines that\ndraw attention to the transparency of the woman subject’s baro sleeves; the\nbaro’t saya was the typical dress of Filipinas from the middle class in the period\nthe piece was painted.
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