{"status":true,"msg":{"data":{"id":37250,"auction_id":48,"set_id":76,"lot_number":"120","artist":"Ang Kiukok (1931-2005)","title":"Second Station: Jesus Carries His Cross","starting_price":7000000,"signed_dated":"signed and dated 1996 (upper right)","medium":"oil on canvas","size":"45” x 36” (114 cm x 91 cm)","property":null,"coa":"This piece is accompanied by a certificate issued by Finale Art File confirming the authenticity of this lot","provenance":"Private Collection, Manila","exhibited":"Metropolitan Museum of Manila, \"Ang Kiukok; A Retrospective\", Manila, Philippines, 2000 Finale Art File, \"Via Dolorosa - Ang Kiukok\" Makati City, Philippines, April 11 - 29, 2017","literature":"Roces, Alfredo, Kiukok: Deconstructing Despair, Finale Art File, Mandaluyong City, Philippines, p. 398 (illustrated); Finale Art File, “Via Dolorosa - Ang Kiukok”, Makati City, Philippines, 2017 (illustrated)","write_up":"An exceedingly melancholic image of the Passion of Jesus Christ; eyes cast downwards, broods under the weight of the cross he is dragging. As Degas once remarked, Millet’s paintings are for God, Pissarro’s are for man. In Philippine art, Ang Kiukok’s art is for God and man. The Christ figure is in a sense an enduring memorial of human survival, body and spirit. His most recognizable and equally critical works are those in the Crucifixion series. A somewhat touchy subject, Christ is seen as pained and tortured by society and expresses at the same time the hope of redemption from worldly shackles.   Ang Kiukok’s depiction of the suffering Christ took a tortuous evolution all its own. In a June 1974 article, Eric Torres wrote: “A more notable transmutation occurs in the large Crucifixions. No longer have the serene, static crucified Christs of the fifties and sixties, these later ones written with Grunewaldian anguish. Like the Crucifixions, the color stresses are morose blues and reds, which heighten the phantasmagoric character of these.”   In the 1990s, the artist introduces a variant in the Deposition Series in which Christ has one arm hanging down along his body and the other arm still nailed to the cross, which below the horizontal beam is a ladder for bringing Christ down. Ang Kiukok’s bleak imagery of the crucifixion can be related to a comment of his saying that Christ died for nothing because the world has not changed.   Ang Kiukok has not turned back to medieval prototypes but instead, through economy of gesture, restraint in overt expression of emotion, and austere use of color, he has created his own meditative images of remarkable force. The fresco like composition is severe. Here the palette is restrained as if Ang Kiukok thought rich and varied colors were as likely to distract from spiritual contemplation. There is no attempt to create any more than the bare essentials of picture space; this particular spur to devotion required no more. For Ang Kiukok, too elaborate a spatial framework as much as excessive use of colour, decoration, or narrative, could detract from the picture’s power.   The composition has a complete spatial unity. The space is kept shallow, and the picture generally is subtly abstract — that is, the forms in it don’t lose their identity as much as they exist for form’s sake. The viewer would more fully enjoy pure form, pure color and pure arrangement because he or she is less diverted by incidental interests.","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":10000000,"bp":0.168,"isWithdrawn":0,"accounting_hp":10000000,"userBid":5926,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":11680000,"fav":0},"image":[{"id":35278,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/48/76/lot/120.jpg","isFeatured":1}]},"increment":[11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":119,"next":121,"count_bid":0,"bid_history":[],"tokenExpired":1}