Private Asian Collection

This work is in good overall condition as viewed. Examination under ultraviolet light reveals scattered spots of restoration primarily in the sky and at the middle left quadrant at a stroke of thick white impasto. Framed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Seashore presents a dreamy landscape, its watery and reflective surface achieved by the technical confidence of an artist fascinated by the varying tonalities of colour. Standing as a rare and early example of the artist so famous for his “transparent Cubism” techniques, the current work bears the qualities of the painter’s affinity for capturing the Filipino spirit in inspired hues.   Born in 1910 in Manila, Philippines, Vicente Manansala was an artist whose works celebrated the natural landscapes and spirit of the Philippines. A leading figure for the rise of modernism in Southeast Asia, Manansala was lauded as one of the Thirteen Moderns in 1941 by none other than Vicotoria Edades, the great founding father of Philippines Modern Art; soon after, he received the first prize at the National Art Exhibition at the University of Santo Tomas. However, it wasn’t until 1949, when Manansala received a 6 month grant to study at the École de Beaux Arts in Banff and Montreal in Canada, that the ways in which he would capture the essence of being Filipino would be changed forevermore.

Never one to be confined by the traditions of genre painting, Manansala became enchanted by the imaginative notions of modernism during his studies in Canada. Under the esteemed tutelage of Joseph Plaskett, Manansala dissected and experimented with cubist styles, which would later on become his characteristic mode of expression. Even in the face of burgeoning artistic developments, Manansala never veered away from his primal quest for encapsulating the beauty of his home country, and created works with an unflinching nationalistic spirit.

This early work by the artist is imbued with Manansala’s affinity for documenting the timeless beauty from ordinary scenes of nature, as he paints a Filipino seashore with glorious fields of colour. Manansala liberally applies wisps of white to the candied blue background to portray barely there clouds, and highlights pools of water on the ground to generate glistening reflections of the sky. As an indispensable voice for depicting the rich narrative of the Philippines, Manansala was acclaimed for broadening visual traditions and styles for many generations of artists to come. Captivating and serene, Seashore is a loving illustration of the peaceful landscapes of the Philippines, and marks Manansala’s gentle care in rendering the sensational, textural and emotional elements of his beloved country.