LIFESTYLE Art collectors on Ang Kiukok
Kiukok’s art collectors praise the master and give tips on how to not buy fakes.
Kiukok’s art collectors praise the master and give tips on how to not buy fakes.
Known for his use of Cubism, Surrealism, and Expressionism, National Artist Ang Kiukok commands respect for his masterful depiction of anguished scenes. But have you ever seen him draw a figure who is flipping someone off? Or did you know that he made one, just one self-portrait? These works and others from 40 private collections, some of which have never been exhibited before, are now on display at Ang Kiu
kok: The Golden Years, an exhibition at Makati’s Ayala Museum. Opened on March 1, which is the artist’s 85th birth anniversary, and curated by his son Andrew Ang, the show features 50 paintings and ceramics that Kiukok produced from 1954 to 2004. Manila
Bulletin was lucky enough to interview three of the collectors who lent their artworks to Ayala Museum, and they talked about why they gravitated toward Kiukok’s art and their advice to those who want to avoid buying fake Kiukoks.
PAULINO QUE
Through an e-mail, coursed through Finale Art File’s Evita Sare
nas, we were able to talk to Paulino Que, arguably the most important art collector in Manila. Que said that it was in the ‘70s when he began collecting Kiukoks. Surprisingly, Que’s first Kiukoks weren’t paintings, but they were three Christmas cards. Entitled Village
Boats (painted in 1957), Two Women (1957), and Goldfish (1958), the first two were watercolors and the third was made with ink. Made for a fundraising event by the Philippine Art Gallery in the late ‘50s, the pieces were offered to Que by Odette Alcantara of Heritage Art Gallery in the late ‘70s. As to why he bought them, Que said, “It’s very unusual to see Christmas cards handpainted by an artist.”
As Kiukok was known to depict suffering instead of idealized and bucolic scenes, the artist was initially criticized for producing “ugly paintings,” but Que disagrees with this assessment. “Ugly is a very subjective term,” said Que. “Our ideas of beauty change. Not only does artistic taste vary from individual to individual, but also tends to evolve with time. Personally, I have never found any of Ang Kiukok’s figures to be ‘ugly.’ For me, art is very much about the artist and his process, as it is about the final artwork.”
“Those who criticize the way he renders figures do not understand his paintings and the motivations behind them,” Que continued. “For instance, Ang had been inspired by the quickening pace and increased mechanization in the US in the ‘60s. Upon returning to the Philippines from that trip with his
mentor, Vicente Manansala, he was inspired to paint figures that looked like robots. During Martial Law, he was painting screaming figures and man on fire to protest against the oppressive regime.”
“Ang Kiukok did not paint just for the sake of pleasing everyone. He painted what he liked and did so without limitation. Even with his distorted figures, one can even make out the skeleton under the flesh. His distinct style and technique, and the fact that he stayed unfazed amid criticism of his work, made him an artist that I could truly respect and admire.”
It is Que who owns the only self portrait of Kiukok, which is on display at the Ayala Museum show. As to how he came to possess that, Que said that he liked collecting artists’ self-portraits so he commissioned Kiukok to do one.
“I waited a long time, for three years at least,” added Que. “One day, in 2000, he surprised me with his self-portrait. I was ecstatic that he finally painted one for me. And then, he wouldn’t even let me pay for it. I insisted on paying him; his answer was ‘I cannot sell my selfportrait, it’s my gift for you.’” We also asked him about Barking
Dog, another artwork that Que lent for the Ayala Museum show. “This came from a long-time collector of Ang,” said Que. “It’s one of my favorites because of the colors that he used. He seldom painted with lighter hues, and you can still see how powerful the painting is.”
As to the artwork Crucifixion, Que revealed that it was Kiukok’s very first and only work on a shaped canvas as the crucified Christ was painted on a cross-shaped canvas. “In this painting, one can see how skilled he was in painting the human anatomy,” Que said. “Not all artists are adept at painting the correct anatomy, especially the hands and feet. It’s so striking even with a limited palette of black, brown, and white.”
When it comes to fakes, Que has some advice. “From what I have seen, Ang Kiukok’s fakes tend to be badly painted,” he said. “My advice would be to consult Ms. Evita Sarenas of Finale Art File prior to buying. She has been handling Kiukok’s works since the ‘80s and is authorized by Mr. Andrew Ang to authenticate his father’s works.”
Another collector, Louie Bate, said that there were two pivotal experiences that led him to appreciate Kiukok’s works. One was that he grew up with a Kiukok watercolor piece that his dad owned and had displayed in their dining room. His other striking moment happened in 1994. Bate visited the home of his schoolmate and saw the family’s collection of Kiukoks. “I recall my jaw drop in awe,” said Bate in an e-mail. “At that point, I knew I had to build my own collection.”
He finally bought his first Kiukok (Entitled Window) in 1993. “What attracted me to Ang’s paintings were primarily the colors he used, the often powerful and strong themes he chose, and the way he portrayed them,” said Bate. Bate’s Kiukok painting entitled Blind Musicians (1959) is currently displayed at the Ayala Museum show. “Not only is this painting a stunning early work, it is also an award-winning piece,” said Bate.
As for the fakes, he said, “The most unbelievable fake Ang Kiukok I have ever seen was a copy of the 1983 Mother
and Child oil painting that I own. Back in 2005, I agreed to let a foundation produce limited edition decorative plates and various paper products of my Ang for their project. I suspect someone saw these images, wanted more than just a plate, and had someone make a copy. I was surprised to see the copy hanging in a gallery. I offered to buy the oil painting, but the gallery owner told me that someone had already acquired it. I was speechless.”
Kevin Belmonte was influenced by his parents into collecting Kiukok. He said that his parents were big art collectors and their favorites were their Kiukoks, so he grew up being exposed to Kiukok’s art. In 1998, Belmonte’s parents gave him Kiukoks as gifts. “We weren’t really collectors back then,” said Belmonte in an e-mail. “We just wanted some good paintings to hang on our walls. Of course, we later became very serious collectors of Mr. Ang.”
Belmonte first met Kiukok in the mid to late ‘70s. “I remember a tall, quiet figure, almost expressionless in outward emotion,” said Belmonte. “He never showed the intense emotions which are seen in his works, but he expressed what he felt in his works. He put his heart and soul and raw emotions into his works, so when you see a Kiukok, you ‘feel’ the painting.”
“But not all his works were angry,” Belmonte added. “He also painted works like his lovers series, which are quite loving in a sense and very passionate.”
For the Ayala Museum show, Belmonte lent two works, one of which is The Deposition of Our Lord (1992), which he said is “one of the most powerful paintings” he has ever seen. “We loved this work the moment we saw it,” said Belmonte. “In it you will witness the tremendous pain and suffering Our Lord went through for mankind. From the crown of thorns on his head to the clenched toes of his feet, you cannot just see his agony but fell it down your spine.”
As for the fakes, Belmonte said, “I have seen fake Kiukoks hanging in some prestigious homes here. My advice is if you like a particular work, find out its provenance, check out books and other publications, talk to serious collectors and get their opinion. Finally, talk to people who knew the artist and his works. In my Ang’s case, his son Andrew and his manager while he was alive, Evita Sarenas, are the best sources of authentication.”
The exhibit runs until June 26 at the Ayala Musuem. The Ayala Museum is located at Makati Avenue corner De la Rosa street, Greenbelt Park, Makati. Admission fees are: Basic Admission (Ground to Third Floor galleries) R150 (Regular Resident), R75 (Resident Student/Senior Citizen), R350 (Regular non-resident), R 250 (Non-resident Student/Senior Citizen); Full Admission (Ground to Fourth Floor galleries, which includes pre-colonial gold and other special artifacts) R225 (Regular Resident), R125 (Resident Student/ Senior Citizen), R425 (Regular nonresident), R300 (Non-resident Student/ Senior Citizen). Teachers get free admission year-round upon presentation of their faculty IDs. It is open from Tuesday to Friday from 9 a.m. to 6 p.m. and on Saturday and Sunday from 10 a.m. to 7 p.m. For details, contact 02 759 8288, hello@ayalamuseum.org. http://www.ayalamuseum. org.