Antonio Blanco (Filipino-Indonesian, 1912-1999)  Joged Dancers
Lot 8
Antonio Blanco (Filipino-Indonesian, 1912-1999)
Joged Dancers
HK$ 2,800,000 - 3,800,000
US$ 360,000 - 480,000

Lot Details
Antonio Blanco (Filipino-Indonesian, 1912-1999)  Joged Dancers
Antonio Blanco (Filipino-Indonesian, 1912-1999)
Joged Dancers
Oil on canvas in artist's original handcrafted frame
Signed 'Antonio Blanco' at upper middle
Painted in 1962
101 x 141 cm (39¾ x 55½ in).

Footnotes

  • Provenance:
    From the estate of the late artist

    Published:
    Fabulous Blanco - Antonio Blanco: His Life, His Works, His Dreams, The Blanco Fine Arts Foundation, Jakarta, 1991, p.39

    安東尼奧 · 布蘭科 約吉舞者 油彩畫布 藝術家原裝手工木框 一九六二年作

    簽名:Antonio Blanco

    來源:
    已故藝術家遺產

    出版:
    《安東尼奧 · 布蘭科: 其生命、其藝術、其夢想》,布蘭科藝術基金會,印尼雅加達,1991年,頁39

    An artist who embodied the spirit of the 20th century, Antonio Blanco sought the essence of modern art in the understanding and adaptation of tradition, ritual, and culture. In essence, Blanco was a fine figurative painter who created dream-like compositions that expressed great artistic romanticism.
    Painted in 1962, about a decade after he arrived in Bali in his search of an artistic paradise, Joged Dancers is arguably the finest of Antonio Blanco's dancers paintings to have come to market. Depicting a pair of dancers in the midst of a flirtation dance, their arms spread out dramatically, entirely absorbed in the intoxicating energy of the moment, the painting is a landmark work from an early period in the artist's career.

    Of exceptionally rare and large size, Joged Dancers is one of no more than three such large-sized canvases that the artist has produced, according to the records of the Antonio Blanco Renaissance Museum, the museum that he established in 1998 before his passing away the following year. The magnificent gold gilded frame of the painting, with its flamboyant arabesque pattern designed down to every specificity by the artist himself, accentuates a beguiling sense of drama, not to mention how it magnifies the already imposing size of the painting. A palpable grandeur takes hold over the viewer standing before the painting, and though the painting and its frame are lavishly elaborate, the joged dance being depicted commands undivided attention, with the arrestingly simple but striking symmetry of the dancers.

    At the center of the painting are a gamelan gong, a particular Balinese and Javanese musical instrument that produces a fixed, focused and sonorous deep pitch. It is the single most important instrument in a gamelan ensemble, as the rest of the ensemble is tuned after the qualities of the gong. In the painting, the gong is a symbolic center of influence, an emphasis on how tradition and ritual dictate the beat, the rhythm and the lifeblood of culture.

    Balinese culture stood distinctly and enveloping all through Blanco's life as an artist, even before he arrived in Bali in 1952. Born in Manila in the Philippines, Blanco first went to the United States before his fascination with Tahiti brought him to Japan and Cambodia. It was in the United States that Blanco encountered the work of Miguel Covarrubias, particularly his landmark book, Island of Bali. To the world outside of Bali, the island had, since the 1930s, been written about, photographed and painted as a captivating non-western tropical paradise. To Blanco, this proved only the start of a lifelong romance with Bali, its rituals and culture.

    Joged Dancers expresses the highest notion of beauty and romanticism that Blanco doubtlessly wanted to portray. Akin to a sizeable part of his oeuvre, sensuality plays a vital part in the artist's work, but unlike in other more typical instances in his oeuvre, he preferred to express sensuality through the subject of the joged dance itself rather than the depiction of nude subjects. In this as well, we trace the broad stylistic shifts that have marked Antonio Blanco's career, moving from the realist depictions of his early days to an unmistakable impressionist's concern with mood, before finding a distinct and signature expressionist's painterly style suffused with romanticism.


    身為藝術家,安東尼奧 · 布蘭科體現了二十世紀的時代精神,通過理解和化用傳統、儀式及文化,探求現代藝術的精髓。在本質上,布蘭科乃是卓越的具象畫家,善於以夢幻般的創作表現高度藝術性的浪漫與唯美。《約吉舞者》繪於1962年,即布蘭科為尋覓藝術的世外桃源而來到峇厘島的大約十年後。在所有已釋出市場的安東尼奧 · 布蘭科舞者題材繪畫中,此作堪稱最上乘的精品。其畫面描繪一對舞者表演調情之舞,手臂縱意橫展,顯出兩人沉醉於當下的渾然忘我,真無愧為畫家早期的一件標誌性傑作。

    根據安東尼奧 · 布蘭科文藝復興美術館的記錄,畫家生前創作如此大型的畫布畫作總共不超過三件,而《約吉舞者》作為其一,自是特別珍罕。(該美術館為布蘭科在1998年,即辭世前一年所創立。)此畫精美豪華的貼金木框,佈滿浮華耀眼的阿拉伯式紋樣,每處細節皆經過畫家親手設計,在作用上不僅凸顯了畫面誘人的戲劇張力,也擴展了作品原本就已可觀的尺寸。對於佇立於畫前的觀者,整體的氣勢宏大歷歷可感。雖然畫框精雕華貴,畫面中的約吉舞蹈本身依然足以使我們全神注目。舞者形象的視覺對稱性簡而不拙,自已突出搶眼。

    畫面中央所繪的甘美朗銅鑼,屬於峇厘島及爪哇的傳統樂器,能產生固定、集中且洪厚深沉的音色。這是甘美朗合奏樂團中最為重要的核心,其他的樂器無不依仰於此,據以調音搭配。在畫面中,銅鑼象徵影響力的中心點,強調傳統和儀式如何主導文化的節拍、韻律與命脈。

    在布蘭科的藝術生涯中(甚至在他1952年來到峇厘以前),峇厘島的文化光彩鮮明,始終包覆一切。他出生於菲律賓馬尼拉,早年遠赴美國,後來因為迷戀大溪地而遊歷日本及柬埔寨。布蘭科正是在美國接觸了米格爾 · 科瓦呂比亞的作品,特別是他的標誌性著作《峇厘島》。對於外界,峇厘自1930年代起早已透過書寫、攝影和繪畫,被人廣泛刻畫成一處異於西方的、令人著迷的熱帶天堂。布蘭科畢生情繫峇厘島以及它的儀式和文化,即由此開端。

    布蘭科無疑欲求展現的、他心目中美麗與浪漫的最高極致,在《約吉舞者》中得以發揮。此畫與畫家畢生一大部份的創作相類,極度重視感官性,但它又與布蘭科其他較為典型的作品不同,選擇通過約吉舞蹈這一題材(而不是裸體人物)來抒發感官性。 我們藉此足以大略追溯布蘭科藝術風格的演變歷程,觀察他如何從早期的寫實之作,轉入明顯屬於印象派的、著重氛圍的創作路線,進而尋得帶有自己鮮明特色的、注滿浪漫主義情調的表現主義式畫風。
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