{"status":true,"msg":{"data":{"id":52656,"auction_id":62,"set_id":90,"lot_number":"120","artist":"Vicente Manansala (1910-1981)","title":"Still Life","starting_price":900000,"signed_dated":"signed and dated 1965-1966 (upper right)","medium":"oil on canvas","size":"20” x 34” (51 cm x 86 cm)","property":null,"coa":null,"provenance":"Private Collection, Makati City","exhibited":null,"literature":null,"write_up":"Alice Guillermo writes: “(Manansala’s) still-lifes have a tapestry like quality, the various objects from the domestic context; not fragmented but left integral, occupy the entire visual field…”  Manansala experimented on multiple perspective through transparent planes.  In the development of his “transparent” cubistic style, Manansala succeeded with extraordinary flair in melding his technique with his visual concepts.  There are other  recognizable shapes on the table.  The artist did not want to take the other objects as mere abstract shapes, so that the main object or leitmotif, which is the fish and vases set against a gray  blue background, will remain the focus of attention.  In the words of Leonidas Benesa: The transparent effects…. are appreciated with the artist’s avowed aim to create or invent his own kind of cubism.  At the start of the 1950s, Manansala went to France as a bousier  of the French government.  One of his mentors was Fernand Leger.  Leger  had created his own kind of cubism, apart from that of Picasso and Braque.”  (Courtesy of the French government, he studied at the Ecole des Beaux Arts in Paris  with Leger and Jean Lombard.  Courtesy of the U.S. State Department, he studied stained glass techniques in New York City, thus perfecting the transparent, wash-like applications of colors).  Manansala always manifests his analytical rendition of space.  In a play of words, Benesa concludes:  “It is possible that  Manansala wanted to do a Leger through his own kind of legerdemain… Where his predecessors succeeded in presenting the element of time by distorting or manipulating planes and shapes from more than one perspective. Manansala employed  transparency to  achieve the same- a see through, simultaneous perspective.”  For expression he would distort, fragment,  reconstruct, but he would retain the objective world on which his imagery and visual motifs are grounded.  It is technique that moderates his art, which gives it order  and clarity.  Technique provides the balance.  This balance gives  Manansala’s painting a certain elegance no matter what the subject may be.  The basis of Manansala’s technical proficiency was his ability to draw.  Draftsmanship was a discipline to which the artist subjected himself.  Throughout his career, Manansala experimented on his technique, modulating and perfecting his style of cubism, even as he reworked recurring motifs such as still lifes.","lot_group":"Painting","lot_details_html":"<p>Vicente Manansala (1910 - 1981)<br />Still Life<br />signed and dated 1965-1966 (upper right)<br />oil on canvas<br />20&rdquo; x 34&rdquo; (51 cm x 86 cm)</p>","alias":null,"hp":4200000,"bp":0.168,"isWithdrawn":0,"accounting_hp":4200000,"userBid":null,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":4905600,"fav":0},"image":[{"id":56752,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/62/90/lot/120.jpg","isFeatured":1}]},"increment":[2200000,2400000,2600000,2800000,3000000,3200000,3400000,3600000,3800000,4000000,4200000,4400000,4600000,4800000,5000000,5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":119,"next":121,"count_bid":0,"bid_history":[],"tokenExpired":1}