費德里克·亞吉拉·奧卡茲

This work is in good overall condition as view. There is some light craquelure and very tiny spots of paint loss but this is stable and consistent with the age of the work and nature of the medium, and only visible upon close inspection. Examination under ultraviolet light reveals signs of restoration mostly on the edges of the work. 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Federico Aguilar Alcuaz was a Filipino artist and abstractionist, whose art is “wild harmony to the chaos of his imagination”¹. Having spent ten years abroad in Spain, in 1964, he returned to Manila and took Manila’s art world by storm. At this point, he had already received wide critical acclaim in Europe, winning awards for his works with abstraction. When he first moved to Barcelona, he began his career as a craftsman before making the transition to fine art. Having befriended the La Punalada group – founded by Picasso, Casas and Rusinol – Alcuaz developed an artistic sensibility that was radically anti-elite, rebelling against the Salon artists who dominated early twentieth century art.

Alcuaz, in line with neofigurative art, used nature as a departing point to explore the potentials of forms. Nature, for Alcuaz, also served as a link to the viewer, allowing us an intimate access into his vibrant internal world. This work uses the philosophy of deconstruction to break up forms present in the canvas, and reassembles these forms to engender new formal relationships, allowing each plane and form to exist on its own axial and spatial trajectory. The darkness of this work is characteristic of Alcuaz’s explorations of the inherent power contained within form, echoing sentiments of the Cubists: the silence and rhythmic motions on the canvas allow a somber intensity of emotional depth to shine through.

¹ Juan T. Gatbonton, Art Philippines, The Crucible Workshop, Manila, Philippines, 1992, p. 197