{"status":true,"msg":{"data":{"id":37401,"auction_id":49,"set_id":77,"lot_number":"92","artist":"José Joya (1931 - 1995)","title":"Amihan Landscape","starting_price":300000,"signed_dated":"signed and dated 1953 (lower left)","medium":"oil on canvas","size":"13” x 16” (33 cm x 41 cm)","property":null,"coa":"This piece is accompanied by a certificate  issued by Mrs. Josefa Joya-Baldovino  confirming the authenticity of this lot","provenance":"Provenance:  Museum of Philippine Art  Acquired directly from the artist by the present owner","exhibited":"Exhibited:  Museum of Philippine Art, “Jose Joya, A 20-year  Retrospective”, Manila","literature":null,"write_up":"This work is a key painting as it typifies the model and dominant image of the Philippine genre for several generations. It also shows the Amorsolo School at its best and freshest. Yet it is a 1953 work by Jose Joya. Following the example of the Amorsolo School, Joya chose the drama of the land and the simple pursuits of its people on the subject of their work.   Joya’s body of work is divided into two major groups. One group is famously the evolving abstractions that made Joya put the Philippines on the world map of contemporary art. Another group of Joya’s advocates a symbolic return to one’s roots, to the uncomplicated life of people living in the countryside. Every painting is an expression of its time. And this key painting was an expression of a time, the year 1953, which was just before Joya was to go to the United States to further his creative path.   From the mid 1950s through most of the 60s, abstract expressionism found an able exponent in Jose Joya (magna cum laude, University of the Philippines, 1953 , and later, Smith Mundt Fulbright Scholar, Cranbrook Academy of Art, 1957.   As early as 1953, there had been “The First Non Objective Art” show at the PAG including works by Hernando R Ocampo, Nena Saguil, Zobel, Aguinaldo, Oteyza, writers Fidel de Castro and Conrado Pedroche, and Joya, and then a budding fine artist.   Yet amid all these developments, it was also in 1953 when former UP department of History Professor Emeritus Isagani R Medina, then a college mate of Jose Joya in the same graduation year, commissioned the artist to do a painting for him with the intention of giving it as a gift to an American friend. Isagani Medina’s ties with the Joya family run even deeper than college graduation. Jose Joya and his sister Josefa (Josie) Joya were his his high school batchmates in at the Mapa High School where they all graduated together in 1949.   The fact that the recipient of the work was an American must have been the reason why the style was “a la Amorsolo”. The subject being unmistakeably Filipino, and any American would surely appreciate the visual theme. To escape the choleric atmosphere of the cities they further developed, such as Manila, they fixed their eyes to a world much to their liking, under opalescent skies, thus emerged the art of Philippine rural views, a genre which had never been considered in isolation.   Ever since Philippine countryside genre became the favored theme during the American period, the ideal of “natural nobility” was a persisting ideal in painting In an age that was what we will call “realistic about things” in its daily philosophy, realistic genre painting flourished over a range as wide as the century’s own attitude toward the daily world and its understanding of human life.   In 1978 Joya was quoted: “the Filipino people in particular, remains central to my thinking. I do not aim to explode the myth about abstract artists as being escapists and with marginal drawing skills. Neither will I attempt their defense. I am not a t all embarrassed and have no apologies to make. On the contrary, figure drawings occupy me privately in noting an imaginary visual diary.   Joya found an inexhaustible source of inspiration Arcadian scenes, in style strongly reminiscent of Corot and the Barbizon school. This lyricism in his landscape is immediately apparent when compared to almost any of his abstracts, which seethe with dramatic tension.   Through Joya’s bucolic rural scape one begins to see nature’s thousand fold moods and gifts. Space is the dramatizing and unifying component in this agreeable composition. It has charm rather than power, pleasant rather than profound, touching rather than moving. In 1983 Amihan Landscape was loaned by Isagani Medina to Jose Joya for the latter’s 30th year Retrospective show held at the Museum of Philippine Art (Mopa) in June of that year.","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":6500000,"bp":0.168,"isWithdrawn":0,"accounting_hp":6500000,"userBid":5927,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":0,"hammer_price":7592000,"fav":0},"image":[{"id":35478,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/49/77/lot/92.jpg","isFeatured":1}]},"increment":[5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":91,"next":93,"count_bid":0,"bid_history":[],"tokenExpired":1}