{"status":true,"msg":{"data":{"id":40344,"auction_id":63,"set_id":91,"lot_number":"209","artist":"Ronald Ventura (b. 1973)","title":"In memorial","starting_price":7000000,"signed_dated":"signed and dated 2001 (right)","medium":"mixed media","size":"89 1/4” x 60” (227 cm x 152 cm)","property":null,"coa":null,"provenance":null,"exhibited":"Ayala Museum, Ronald Ventura: Big and Small, Ayala","literature":"Realities, Ronald Ventura, Damiani, Italy, 2011, p","write_up":"An internationally acclaimed Filipino artist, Ronald Ventura is the latest of the A List artists who through the centuries have  created a derivative of Leonardo da Vinci’s Vitruvian man.  In this, Ventura succeeds: Cesare Cesariano (1521) who edited the important 1521 edition of De Architectura of Vitruvius (Leonardo da Vinci is supposed to have provided the illustrations for this edition); Albrecht Durer (1528) in his book Vier Bücher von menschlicher Proportion (four books on human proportions); Pietro di Giacomo Canateo (1554); Heinrich Lautensack (1618); William Blake (1795) “Glad Day”, now known as “Albion rose” (This representation is without the circle and square.) The Vitruvian Man is also depicted on Italian Euro coins. The Vitruvian Man, Italian: Le proporzioni del corpo umano secondo Vitruvio or simply L’Uomo Vitruviano, is a drawing by  Leonardo da Vinci around 1490.. The drawing, which is in pen and ink on paper, depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square.  The drawing and text are sometimes called the Canon of  Proportions or, less often, Proportions of Man.  Da Vinci’s original drawing is kept in the Gabinetto dei disegni e stampe of  the Gallerie dell’Accademia, in Venice, Italy, under reference 228.  Like most works on paper, it is displayed to the public only occasionally. The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius.  In Book III of his treatise De Architectura, Vitruvius described the human figure as being the principal source of  proportion among the Classical orders of architecture.  Vitruvius determined that the ideal body should be eight heads high. Leonardo da Vinci’s famous drawing is traditionally named in honor of the architect.  This image demonstrates the blend of art and science during the Renaissance, and provides the perfect example of Leonardo’s deep understanding of proportions.  In addition, this picture represents a cornerstone of Leonardo’s attempts to relate man to nature.  Encyclopedia Brittanica online states, “Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe.”  In the article “Discovering Male Nudes” published in Asian Art News July/August 2002, Alice Guillermo describes 2001’s “In Memorial.”  “…Indeed, Ronald Ventura’s male nudes significantly differ from the cursory sketches that now and then make an appearance in galleries, for there inheres in them an artistic conviction that produces a thoughtful, environing mood.  He regards the body as a splendid shell that houses the spirit, and the mystery of the human form lies in the intimate exchange between the physical and the spiritual.  The secret lies in a particular manner of rendering the nude which exteriorizes inner reality: the subterranean tide of thought, feeling and mood intimated by the visible physical structure.”  “In the oil “In Memorial” (2001) the artist pays homage to the archetypal male nude, the Vitruvian man, in an audacious  appropriation of the drawing.  The splendid contours of the dual figure are fleshed and rounded out by the artist. In the  original work, the Renaissance master reflected the ratios and proportions of the Roman architect Vitruvius who, around 27  BC, laid down the canons of classical architecture based on the ideal proportions of the male figure.  Vitruvius asserted that  the navel is the center of the human form.  Indeed, the circle in the Vitruvian Man centers on the navel, but when the figure  is squared, the midpoint shifts to the phallus which establishes the underlying geometry of the male body.  In his virtuosic  restatement of the canonical drawing into painting, Ventura proclaims classicism as a basic influence of his art.”","lot_group":"Painting","lot_details_html":"<p><strong>Ronald Ventura</strong> (b.1973)<br /><em>In Memorial</em><br />signed and dated 2001 (right)<br />mixed media<br />89 1/4&rdquo; x 60&rdquo; (227 cm x 152 cm)</p>","alias":null,"hp":14000000,"bp":0.168,"isWithdrawn":0,"accounting_hp":14000000,"userBid":null,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":16352000,"fav":0},"image":[{"id":39037,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/63/91/lot/209.jpg","isFeatured":1},{"id":39039,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/63/91/lot/209a.jpg","isFeatured":0}]},"increment":[11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":208,"next":0,"count_bid":0,"bid_history":[],"tokenExpired":1}