{"status":true,"msg":{"data":{"id":45694,"auction_id":92,"set_id":121,"lot_number":"47","artist":"Emmanuel Garibay (b. 1962)","title":"Emmaus","starting_price":1200000,"signed_dated":"signed and dated 2011 (lower left)","medium":"oil on canvas","size":"50\" x 60\" (127 cm x 152 cm)","property":null,"coa":"León Gallery wishes to thank the artist for confirming the authenticity of this lot","provenance":null,"exhibited":null,"literature":null,"write_up":"This 2011 work titled Emmaus, says Emmanuel Garibay, is one of his favorite pieces in his series of works about the post-resurrection event, narrated in the last chapter of the Gospel of Luke. In the story, two of Jesus' disciples, Cleophas and an unnamed one, were traveling from Jerusalem to Emmaus, which the gospel wrote was seven miles apart. The two were discussing an earlier incident, in which the women who brought the spices to anoint Jesus in His resting place discovered that the stone had already been rolled away from the tomb, and two luminous figures, possibly angels, said that the man they are looking for has already risen. This incident caused the apostle Peter to rush to the tomb, only to find strips of linen lying inside
While the two disciples conversed, a man suddenly appeared and joined them, asking what they were talking about. The two, not recognizing that it was Jesus himself, were \"downcast,\" interrogating the man, \"Are you the only one visiting Jerusalem who does not know the things that have happened there in these days?\"
The three continued walking and discussing until the two disciples asked the man if he could come with them since dusk was beginning to fall. In the disciples' house, the man sat at the table, took bread, gave thanks, broke it, and shared it with them. The disciples, who had seemingly regained consciousness, shockingly realized it was the Lord all along. He suddenly disappeared after they had come to their senses, and they immediately returned to Jerusalem, proclaiming to the Eleven Apostles the good news of Jesus' resurrection.
The theme of Emmaus is a recurring subject in Garibay's \nworks, one that he said \"was a major series that got me a \nlot of attention and exposure in international ecumenical \norganizations.\" In the Emmaus works, Garibay hopes to \nconvey a resonating message that many theologians may \nrelate to, especially within the context of discourses on \ntheology and Christology that are still dominated by colonial \nand Western viewpoints.
According to American theologian and catechist Fr. Alfred \nMcBride, the gospel account of the encounter at Emmaus boils \ndown to the theme of Christian spiritual growth, presenting \n\"the evolution of the awareness of the two disciples, from \ndespair over Christ's death to faith in his resurrection.\" Jesus' \ndisciples went into hiding after his crucifixion, fearing that \nthe Jewish leaders and the Roman guards could arrest them \nand execute them. After the encounter at Emmaus, the \ndisciples regained their faith in Christ's resurrection and the \npromise of a new and everlasting life.
Similarly, Garibay appropriates this theme and \nrecontextualizes the image of Christ, away from the Western, \ncolonial concept and closer to the actual situation of the \ndowntrodden. As Garibay said, \"God is on the side of the \npoor and marginalized.\"
In this Emmaus painting from 2011, Garibay reprises the \nsubject of men merrily drinking with a woman (likely a \nprostitute) possessing the stigmata, an allusion to Christ's \nomnipresence even in the face of the marginalized.
\"I like this one,\" Garibay said in a recent interview with Leon \nGallery about the work. \"It is one of my most favorite pieces \nin the [Emmaus] series.\"\n
The painting is rendered in a synthesis of cubism and \nfigurative expressionism, resulting in a frenzy of distortion \nthat becomes clearer as one views it longer and deeper.
\"I like how the figures and their expressions are more \nexaggerated,\" Garibay added. \"This is a deliberate distortion \n[meant to further] echo the whole idea of disorientation.\"
In a 2011 interview with Daniel Nicholas, Garibay said of \nthe general theme of his Emmaus Series—which is strikingly \nsimilar to the rendition of the work at hand, \"I thought that \nby representing Jesus in a radically different way, that of \na woman, and especially a woman who seems to be of ill \nrepute, the painting would really challenge the viewers to \ncarefully consider the implication of seeing Jesus in other \npeople, especially those who are downtrodden, especially \nthose whom society looks down upon.\"
Garibay continues, \"That's why in the picture, the disciples, \nthe two men beside the woman, are laughing so hard \nbecause they have just realized their mistaken notion of \nJesus. It's like a joke. All three are laughing at the joke. I \nguess this is a contrast between the Jesus of history and the \nJesus of the resurrection.\"
Centuries of colonial rule have influenced how we perceive \nChrist. In virtually every Catholic church in the country, \nChrist is conventionally depicted as a Caucasian-looking \nman. However, the whole idea of Jesus being conformed to \nWestern aesthetics and ideals only reinforces the hegemony \nof a colonial rule now disguised as \"alliances,\" imperialist \naffinities that directly affect the welfare of the people and \nfurther exacerbate their lack of choice to free themselves \nfrom their forced subjection under cruel conditions and \ndispositions.
Jesus is a political figure, inasmuch as he resisted the ultra\u0002conservatism of the Pharisees and scribes of his time. \nFor Garibay, Jesus was \"very much against conventional \nreligiosity.\" He was much more visible in the presence \nof the people. He preached outside and served the poor, \nthe sick, and the sinners. Recontextualizing Christ into the \nbroader Filipino culture, bringing Him and associating Him \ncloser than ever with the marginalized sectors of society \nbrings about a faith that is liberating and empowering, not \nconvicting and dependent on fear and punishment.
When the Church is dwindling, it should go back to the very \nfoundations that built it—and that is, Jesus humbly served \nand gladly welcomed the diminished and disenfranchised \ninto His arms, radically striving to liberate them from their \noppressive circumstances. ","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":2200000,"bp":0.2016,"isWithdrawn":0,"accounting_hp":2200000,"userBid":7390,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":2643520,"fav":0},"image":[{"id":44417,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/92/121/lot/47.jpg","isFeatured":1},{"id":45014,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/92/121/lot/47d.jpg","isFeatured":0},{"id":45012,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/92/121/lot/47b.jpg","isFeatured":0},{"id":44418,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/92/121/lot/47c.jpg","isFeatured":0}]},"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":46,"next":48,"count_bid":0,"bid_history":[],"tokenExpired":1}