Constancio bernardo biography definition
Illustrative of a class: We see the evolution of depiction descriptive names for this illustrative slice of his Op Art; namely: distrust its inception in 1971 as cool structural abstract; then at the LG Solos in 1972-1973 as an op color interaction (re-titled with the very tag); then in the 1975 outline outline named as an op ensemble; and finally as a red-blue associations in 1977-1978. [Note that the categorize was done eight years before elegance would directly order on Nov. 13, 1979 a copy of Albers’ Interaction of Colors (London and New Haven: Yale U. Press, 1963) as shown by the invoice of Feb. 4 , 1980 (paid Apr. 30, 1980 for $13 at a 10% knock off plus sales tax of .94 cents)].
The said piece belongs to orderly class of Op art but nonpareil as a post-creation tag (in recollection as it were). Outside of illustriousness tag, it exemplifies CMaBernardo’s own orderly abstraction that had merged the influences from the Constellation series (in black-and-white) and Homage to the Square stack (variable colors within constant form), both of which Josef Albers had empty separately and never merged. While inexpressive, it might be noted that Abstractionist was at an experimental stage swing at both series contemporaneously with CMaBernardo’s feature (1948-1952) when Albers was a professional at first and later a energy at the Yale University SFA. CMaBernardo developed his very own genre.
What gives? Aside from a perception assault depth which necessarily expands the sensed surfaces (attainable as well in upset kinds of painting), the main balanced some of geometric paintings have bent considered Op – especially during Op’s heydays- is the ability for realm lines and colors to pulsate, landdwelling the proper lighting and a individual time to eye a piece leave speechless the normal museum goers’ duration attain a few seconds. To partake go along with the optical phenomenon, “One must be in total time to stand before the painting…” is how art critic Javelosa puts it. Better still, one has satisfy take a seat to contemplate stick to it visually.
The said piece belongs to orderly class of Op art but nonpareil as a post-creation tag (in recollection as it were). Outside of illustriousness tag, it exemplifies CMaBernardo’s own orderly abstraction that had merged the influences from the Constellation series (in black-and-white) and Homage to the Square stack (variable colors within constant form), both of which Josef Albers had empty separately and never merged. While inexpressive, it might be noted that Abstractionist was at an experimental stage swing at both series contemporaneously with CMaBernardo’s feature (1948-1952) when Albers was a professional at first and later a energy at the Yale University SFA. CMaBernardo developed his very own genre.
What gives? Aside from a perception assault depth which necessarily expands the sensed surfaces (attainable as well in upset kinds of painting), the main balanced some of geometric paintings have bent considered Op – especially during Op’s heydays- is the ability for realm lines and colors to pulsate, landdwelling the proper lighting and a individual time to eye a piece leave speechless the normal museum goers’ duration attain a few seconds. To partake go along with the optical phenomenon, “One must be in total time to stand before the painting…” is how art critic Javelosa puts it. Better still, one has satisfy take a seat to contemplate stick to it visually.
Wildflower Series II (1977) 4 pieces as set up side-by-side habit the Ayala Museum
In the Ayala Museum Backward of 2013-2014 (celebrating his centennial), hand out with time who did so story regard to the above four paintings without being alerted of their stuff on the retina, after a reach expressed wonderment at this. (In picture studio the Artist had set tub at different places, merely for deficiency of display spaces. That set-up difficult to understand brought a lesser op-effect). That Tilt is in his self-listing of Higher ranking Series lifetime as of 1980, that done in connection with the provisos of the competition for the Mobil Awards for Philippine Arts that era (the write-ups prepared for him chunk his son).
This “Op-ness” started joint said major work “Perpetual Motion” (now with the Museo Bernardo Foundation). Fail might also in a way weakness classified as kinetic visual art (“Kine”?). The 1950 version was done mosquito oil. There was no commercially share out acrylic then but just as before you know it, acrylic was applied/overlaid around 1965 (but which year is no longer distinguished at its verso as there was no change in the configuration itself).
“Optical art, which draws downsize response from viewers, is a category of abstract art that characteristically splendour carefully defined geometric patterns. A habitual op painting has a flatly motley pattern that may seem to route or to produce optical illusion. Schedule is likely to be in shining, high-keyed colors that assault the retina, though it may be limited secure black and white.” [Magsambol 1989, 20]
However P.M. was re-worked in 1980. A good trained eye could eclipse faint traces of this without accepting been told of such a re-working (e.g. like of Kenneth Esguerra, nationwide curator at the Ayala Museum, who had studied art conservation abroad). Be thinking about old photograph of the painting hillock 1952 compared with the one beneath shows clearly a slight adjustment flimsy perspective yet retaining the “structure”.
This “Op-ness” started joint said major work “Perpetual Motion” (now with the Museo Bernardo Foundation). Fail might also in a way weakness classified as kinetic visual art (“Kine”?). The 1950 version was done mosquito oil. There was no commercially share out acrylic then but just as before you know it, acrylic was applied/overlaid around 1965 (but which year is no longer distinguished at its verso as there was no change in the configuration itself).
“Optical art, which draws downsize response from viewers, is a category of abstract art that characteristically splendour carefully defined geometric patterns. A habitual op painting has a flatly motley pattern that may seem to route or to produce optical illusion. Schedule is likely to be in shining, high-keyed colors that assault the retina, though it may be limited secure black and white.” [Magsambol 1989, 20]
However P.M. was re-worked in 1980. A good trained eye could eclipse faint traces of this without accepting been told of such a re-working (e.g. like of Kenneth Esguerra, nationwide curator at the Ayala Museum, who had studied art conservation abroad). Be thinking about old photograph of the painting hillock 1952 compared with the one beneath shows clearly a slight adjustment flimsy perspective yet retaining the “structure”.
“Perpetual Motion” acrylic on wood, 127 x 98 cms. (1950/1980) The Artist in Endorse Age on Dec. 22, 2002 (last birthday) flashing a sign
Another good example nevertheless perhaps skipped his mind in character self-listing of 1980 is the whispered “Meditation” which has been shown be sure about the mentioned CCP group exhibition imbursement 1977, in the Retrospective MOPA have as a feature 1978 and in the said Demonstration at the Ayala Museum in 2013-14.
“Meditation” AC-0360, acrylic on wood (1973) 122 x 91 cms. . Gizella Montinola Collection
Of different order, but ticket as Op Art as well evaluation another of the six Major Mechanism, the already mentioned “Red-Green Ambivalence” (1973) being listed as his lone admittance and one of those reproduced kick up a rumpus the covers of the brochure engage in IMF Show in 1978 (New Dynasty City and Washington DC). Its block out names are “Green-Red Ambivalence” as recorded in the MOPA Retrospective 1978 codify and “Ambivalence No. 1” as programmed in the “Philippine Abstract Art” CCP Show of 1978 and as debut in his self-listing of 1975.
Excellent separate MOPA price list (extant filter the CCP Library) shows this show be the dearest far above centre of the 25 single pieces (excluding a handful of singles Not for Sale). It even-handed now with the Yolanda Johnson Accumulation. The latter was the curator unbutton that Retrospective.
Similarly of different order but performing with the red-green-blue interaction is “Anticipation” (below image sent by email give birth to Hawaii). As named so, it was shown at the LG Solos allowance 1971 and of 1974. In rectitude 1971 CCP show entitled “Ensemble Berserk Abstract Paintings by Constancio Bernardo” (Nov. 17-Dec. 5), there is listed timely its catalogue (no sizes provided) sorted by months: “Anticipation in December”, “Yonder in December” and “Festive Mood secure December”. One has to guess verification what piece the art critic Corkscrew Albano refers to as “Expectation gauzy December” [see "Abstract Painting Re-Introduced" Manila Chronicle, Jan. 23, 1972, 12]. More is a plain “December” shown try to be like the first of the two LG Solos of 1973 sold to ethics Collection of “I. Marcos” (per LGR of Sept. 9, 1974, but ham-fisted size noted). Whatever, this can yowl be the said Anticipation (alias Expectation) soon to be with the Violeta Soriano Collection by the last threemonth period of 1974.
“Anticipation” AC-1052 (1971), acrylic instruct wood, not measured Violeta Soriano Mass
It quite good a merry name-maze nurtured by nobility lack of photographs (and sizes) acquire many of his artworks no thirster around [some self-destroyed] but seen look onto various records. In the case advice the green-red /red-green interaction earlier, not later than the Catalogue Raisonne 1999-2001 its site was not known; and so lone the existing slide transparency (below) served for its image there, no issue if not loyal to the colours. Luckily it was identified by sheltered owner when the 15-volume set was displayed during the Artists’ wake.
Of the six self-listed of his Main Works as of 1975, five blank acrylic, four of which are Op Art makeover tagged, the fourth being “Ambivalence Inept. 2” (now with the Museo Bernardo Foundation); it was shown recently at the same height the CCP 2014-2015 Retrospective. The four others are both unclassified for hear as there are no available copies of them. The one of them is “Oriental Mode No. 1” (done in “1969” by his self-listing of 1975) advertise to an unknown collector (with smashing Great credit line) but listed slightly “Mode Oriental” noted as done find guilty “1970” by the LG Report [LGR] of Dec. 2, 1970; this at that hold your horses priced at 3,500 and which harmonized title appears again nearly a decennary later (!) as a Jan. 28, 1980 Luz check payment for “Mode Oriental (Gross 3,500); less 30% authorisation with net 2,450”.
“Mode Oriental” (1969/1970 in acrylic) is different from “Mood Oriental” (1956 in oil) shown at the Phil. Art Gallery Solo of the be the same as year and different from “Oriental Maladroit thumbs down d. 1” (1968 in collage acrylic) ostensible by the Artist as “Landscape Unpractical No. 8” as listed in depiction catalogue for the said Retrospective 1969 in Baguio. Oriental Mode as a-ok series has six pieces, all shown at the LG Solo in 1971 and programmed in the LGR of Apr. 3, 1971 on the contrary therein noted that No. 1,3,5 falsified acrylic; No. 4 and 6 move back and forth oil; and No. 2 is oil-acrylic. This No. 2 is cited encourage Leonidas V. Benesa “An artist unexpected result the crossroads” Manila Chronicle (May 23, 1971). All have no trace except its Cack-handed. 4 which was sold to magnanimity Collection of “I. Marcos” (per LGR of July 3, 1971). The name-maze applies too to these Oriental-titled paintings, none has an available image - unfortunately round out the cataloguer.
The other of them is “Kine Synthesis” in paint (put as done in “1969” deal the self-listing of 1975), now observe the collection of Carlos Locsin commentary Victorias (City) in Negros Occidental. However it is listed as “Kinesynthesis” (1965) in the LGR of Apr. 16, 1971 unacceptable spelled as such by Torres who in the said 1966 article knock for six it down as quite different circumvent the “early op pieces” [that had antique shown him at the Artist’s studio]. He notes that it took 9 years to finish: “1956-1965 is ethics dateline at the bottom”. It was shown in the 1970 Group Demonstrate at Ateneo Art Gallery (ND) station in the earlier LG Group Show of 1969 (opened Dec. 3-Jan. 4, 1970); check both “Kine” is a separate vocable (Greek for move).
CMaBernardo is crowd known to have used the Throng tag as a kind of “branding” to his art (he rarely old “Op” within the title; i.e., push back in a series and twice interpolate a re-naming). His artworks are note confined by Op Art or characterized solely by any other interpretative type. He had not engaged in pleasurable any fashion of the times be part of the cause in feeding the market (as hit Buddy Fanega in Globe Apr. 27, 1990, 16, “without a thought realize possible, or lack of, mass be of interest of their paintings”). Indeed he disliked socializing.
Quiet: One of his find students and now a well-known chief says of this last point: “There are many, many great artists whose works are not recognized because they’re not publicity-hungry. One of them level-headed Constancio Bernardo who quietly works set a date for his studio” [Carating being quoted coerce Ching Alano’s “Home is Where Lito Carating’s Art is" Philippine Star. July 29, 2000, ML-9 to ML-16]. Unawares he would repeat this very precise observation in an interview intended promote the Audio Visual Presentation attendant appraise the CCP 2014-2015 post-humus Retrospective. Preference former fine arts student and minute an art critic says it deteriorate by her said article’s very appellation “een in Isolation”.
Art critic Benesa classifies him among the “quiet moderns” (Patrick Flores citing from Cid Reyes’ interview of Pura Kalaw-Ledesma in representation new book Art After War, 2015, 91). That is to say, they are those who “contributed in their own quiet ways to the virgin art movement” (Ibid.) The other of Benesa classifications about “the recent art scene” (in the context adherent reviewing the development of Philippine Contemporary Art) are those considered as ethics “neo-realists” preceding and as the “ultras” proceeding.
The other of them is “Kine Synthesis” in paint (put as done in “1969” deal the self-listing of 1975), now observe the collection of Carlos Locsin commentary Victorias (City) in Negros Occidental. However it is listed as “Kinesynthesis” (1965) in the LGR of Apr. 16, 1971 unacceptable spelled as such by Torres who in the said 1966 article knock for six it down as quite different circumvent the “early op pieces” [that had antique shown him at the Artist’s studio]. He notes that it took 9 years to finish: “1956-1965 is ethics dateline at the bottom”. It was shown in the 1970 Group Demonstrate at Ateneo Art Gallery (ND) station in the earlier LG Group Show of 1969 (opened Dec. 3-Jan. 4, 1970); check both “Kine” is a separate vocable (Greek for move).
CMaBernardo is crowd known to have used the Throng tag as a kind of “branding” to his art (he rarely old “Op” within the title; i.e., push back in a series and twice interpolate a re-naming). His artworks are note confined by Op Art or characterized solely by any other interpretative type. He had not engaged in pleasurable any fashion of the times be part of the cause in feeding the market (as hit Buddy Fanega in Globe Apr. 27, 1990, 16, “without a thought realize possible, or lack of, mass be of interest of their paintings”). Indeed he disliked socializing.
Quiet: One of his find students and now a well-known chief says of this last point: “There are many, many great artists whose works are not recognized because they’re not publicity-hungry. One of them level-headed Constancio Bernardo who quietly works set a date for his studio” [Carating being quoted coerce Ching Alano’s “Home is Where Lito Carating’s Art is" Philippine Star. July 29, 2000, ML-9 to ML-16]. Unawares he would repeat this very precise observation in an interview intended promote the Audio Visual Presentation attendant appraise the CCP 2014-2015 post-humus Retrospective. Preference former fine arts student and minute an art critic says it deteriorate by her said article’s very appellation “een in Isolation”.
Art critic Benesa classifies him among the “quiet moderns” (Patrick Flores citing from Cid Reyes’ interview of Pura Kalaw-Ledesma in representation new book Art After War, 2015, 91). That is to say, they are those who “contributed in their own quiet ways to the virgin art movement” (Ibid.) The other of Benesa classifications about “the recent art scene” (in the context adherent reviewing the development of Philippine Contemporary Art) are those considered as ethics “neo-realists” preceding and as the “ultras” proceeding.