Arturo Luz Sold at Auction Prices

b. 1928 -

Filipino artist Arturo Luz (b.1926) was one of the founders of the modern Neo-Realist style in Philippine art.Though he used several styles and techniques, he was primarily influenced by Modernist Paul Klee. Arturo Luz's artworks, usually in oil or acrylic paint, were abstract figural or architectural pieces. In the 1950s, he used geometric shapes to create a series of carnival paintings. 

Artist Arturo Luz was the Founding Director of the Metropolitan Museum of Manila in 1976, and worked there for 10 years. In 1997, he was recognized as the National Artist in Visual Arts by the Philippine government. At auction Arturo Luz paintings' prices for originals continue to increase; prices can also vary by size and medium. Purchase a variety of unique abstract prints for sale online and create your own fine art gallery.

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  • Arturo Luz (1926 - 2021) - Objects from the Past II
    Mar. 15, 2025

    Arturo Luz (1926 - 2021) - Objects from the Past II

    Est: ₱80,000 - ₱104,000

    Objects from the Past II hand-signed (lower right) plantigraph 2/30 15” x 8 1/4” (38 cm x 21 cm) Arturo Luz’s “Objects of the Past” series is an offshoot of his eminent “Cities of the Past.” Cities of the Past transformed the cities Luz experienced for himself into minimalist distillations of one place’s very soul. With Objects from the Past II, Luz did that but with objects – through minimalist, almost indistinguishable illustrations, Luz’s Objects of the Past puts years of history onto paper, immortalizing it for the years to come. (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Forms of Amusement I
    Feb. 22, 2025

    Arturo Luz (1926 - 2021) - Forms of Amusement I

    Est: ₱2,400,000 - ₱3,120,000

    Arturo Luz (1926 - 2021) Forms of Amusement I signed (lower right) dated 1993 acrylic painting collage 36" x 48" (91 cm x 122 cm)   Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot Carnivals, their performers, and their distinct atmosphere have been, for a long time, a source of inspiration for Arturo Luz when, in 1952, he reported seeing four men ride a single bicycle together. “The sight struck me as very Filipino,” he said. As such, the flurry of movement in a carnival has become one of the artist’s longest-lasting muses.   Forms of Amusement takes that movement and puts it at the forefront. In typical Arturo Luz fashion, he reduces the winding rollercoaster into precise lines and perfect circles, juxtapositioning the thin lines with the plain black background and red ground. In such stark and contrasting shades, Luz strips his subjects down to their barest essences with a sort of Zen sensibility that made critic Leónidas Benesa extol him as “the Filipino Artist of East and West.   “Luz’s mind is the mandarin’s at work,” Benesa states, “balancing the conscious with the unconscious, reason with passion, the Yang of his Western education with the Yin of his Eastern sensibility.”   Forms of Amusement shows the best of the artist’s consistency and discipline. His body of work spanned all through sixty years and it has been defined by its distinct lines, planes, and bold colors in a starkly rendered canvas. “My work is linear or geometric, and that’s it, essentially. I cannot imagine myself going conceptual or surrealistic tomorrow,” Arturo Luz once said in 1973, as recalled by Reuben Cañete in a 2020 BluPrint article. Indeed, Forms of Amusement is a dedication to Luz’s unprecedented tenacity, consistency, and the fullness of a well-lived life. (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Celebration I
    Feb. 22, 2025

    Arturo Luz (1926 - 2021) - Celebration I

    Est: ₱1,600,000 - ₱2,080,000

    Arturo Luz (1926 - 2021) Celebration I signed (lower right) dated 1980 white collage 48" x 36" (122 cm x 91 cm)   Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot   Provenance: Acquired directly from the artist Apainter, designer, printmaker, and sculptor, Arturo Luz was one of the leading lights in Philippine art history. His artistic journey results from his unwavering dedication to learning and development. Despite starting drawing at age seventeen and at a time of disturbance and destruction, Luz nevertheless worked toward his goal of being an artist. He experimented with different styles and mediums and explored various themes, producing diverse art pieces—sketches, oil and acrylic paintings, sculptures, and many more.   In Cid Reyes’s monograph on the artist, Luz reminisced on the specific moment he decided to become an artist. It was during the war, one hot and lazy but rather fateful day in their residence in Pasay, that he just, without provocation, sketched his mother’s face. “It was the very first drawing I ever made in my life. From that moment on, I said to myself: I am going to be an artist,” shared Luz. He said it with so much conviction that, soon after the war ended, Luz started studying art in earnest.   Studying in the time of Amorsolo and being mentored by his brother Pablo, Luz’s early paintings adhered to traditionalism. In the 1950s, he delved deeper into the world of abstraction—the beginning of his simplistic linear and geometric works, minimizing his figures into their most basic forms—and created his celebrated Carnival series. This style was the precursor to his later shift to minimalism, where he abandoned figurative painting and embraced a more straightforward, linear form with a limited palette.   The 1960s marked another shift in Luz’s painting style. This time, he began working with collages, characterized by sticking cut pieces of paper in different shapes on a surface and overlaying them with acrylic paint. In this period, Luz also started transitioning to pure non-objective art.   The work at hand, Celebration I, was a white collage work from 1980. Here, Luz depicted the rather solemn quality of a celebration, a stark contrast to his usual celebration and carnival-themed works that burst with colors. Against a clouded white background, Luz placed two squares–black and gold–in the middle with arbitrary splatters of black paint across the canvas. Notably, his chosen palette added a sophisticated and elegant allure to this piece.   As a person, Luz resembles his paintings: quiet, unassuming, witty, and profound—quite a combination of his parents’ characteristics. Moreover, his skilled utilization of space came from his mother, an intelligent interior designer, despite being unable to go to college. “Using common sense, she would turn anything into an object of beauty… Everything she did showed a certain elegance,” says Luz.   While Luz’s earlier works were rooted in realism, his succeeding paintings took a bold leap into abstraction, culminating in his distinctive geometric style. His oeuvre became known for its straightforwardness, characterized by linear forms and a restrained palette. His matted, minimalist compositions of bare spaces punctuated by linear forms have earned him a place among the most sought-after Filipino artists. In 1997, Arturo Luz was bestowed a National Artist for Visual Arts Award, the country’s highest accolade in the arts. (Jessica Magno)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Objects from The Past
    Feb. 22, 2025

    Arturo Luz (1926 - 2021) - Objects from The Past

    Est: ₱1,400,000 - ₱1,820,000

    Arturo Luz (1926 - 2021) Objects from The Past signed (lower left) dated 1994 acrylic on canvas 24" x 40" (61 cm x 102 cm)   Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot Arturo Luz’s “Cities of the Past” series is born after the artist’s late 1980s journey around Southeast Asia and India. Stepping down as the director of the Metropolitan Museum of Manila in 1986, Luz armed himself with a camera and embarked on his journey, capturing Thailand, Cambodia, and Indonesia in 1988. He even went past the Southeast Asian borders to Pakistan, India, and Nepal. These travels brought upon the “Cities of the Past” series, where he employed his minimalist style to depict the beauty of the cities he saw.   An offshoot of the “Cities of the Past” series is the “Objects of the Past,” the series that this 1994 piece originates from. Operating like the former series, Objects from the Past utilized straight white lines and flat black and red background color as it depicts three pieces of the box on top of a table and a pair of lanterns. His perspective, unlike some artists, is almost nonexistent as it lays flat and, except for the three-dimensional boxes, dimensionless.   An offshoot of the “Cities of the Past” series is the “Objects of the Past,” the series that this 1994 piece originates from. Operating like the former series, Objects from the Past utilized straight white lines and flat black and red background color as it depicts three pieces of the box on top of a table and a pair of lanterns. His perspective, unlike some artists, is almost nonexistent as it lays flat and, except for the three-dimensional boxes, dimensionless.   “I want my viewers to be puzzled by it,” Luz once said. “I am not interested in the physical appearance of things but rather the nature of things.”   Objects from the Past, like the Cities from the Past, did not stop at just mere replication of the objects; instead, Luz peered into the soul of the item. These everyday items became simultaneously complex and simple, with the hypnotic way he portrays the objects transforming the piece into magnificent recollections of the past. (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Two Performers
    Feb. 22, 2025

    Arturo Luz (1926 - 2021) - Two Performers

    Est: ₱2,400,000 - ₱3,120,000

    Arturo Luz (1926 - 2021) Two Performers signed (lower left) dated 2016 acrylic on canvas 64 3/4" x 36" (164 cm x 91 cm)   Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot Carnivals and their performers are a staple in the oeuvre of Arturo Luz. Stemming from his encounter with four men riding the same bicycle in 1952 ("The sight struck me as very Filipino," Luz once noted), the flurry of movement that emerged from the carnival became a wellspring of inspiration that Luz so often draws from. The acrobats and the cyclists make frequent appearances in his works, gracing his oeuvre with the vibrancy that one often feels when they step into a carnival – electric, infectious, and invigorating.   More than half a decade later, Luz is still taken with the image, as evidenced by his 2016 Two Performers. With the Arturo Luz typical minimalism, he reduces the performers into triangles and lines, their heads a pinprick compared to their bodies. All around them, confetti falls on the performers as they take their due bows. In stark shades of black and white and red, Luz strips his subject down to its essence, embracing the Zen value of simplicity and minimalism that made critic Leonidas Benesa extol him as “the Filipino Artist of East and West.”   “Luz’s mind is the mandarin’s at work,” Benesa states, “balancing the conscious with the unconscious, reason with passion, the Yang of his Western education with the Yin of his Eastern sensibility.”   The minimalism with which Luz saturates Performers is intertwined with the musicality of the theme itself – through the swoops and the straight lines, Luz creates a story in motion, brimming with life in the same way a carnival would be. (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Imaginary Landscape
    Feb. 22, 2025

    Arturo Luz (1926 - 2021) - Imaginary Landscape

    Est: ₱800,000 - ₱1,040,000

    Arturo Luz (1926 - 2021) Imaginary Landscape signed (lower left) dated 2000 acrylic on canvas 24" x 36" (61 cm x 91 cm)   Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot   The 1990s marked a substantial juncture in Arturo Luz’s life and artistic career. It was a time of relaxation and self-discovery, a much-needed break from the burdens of his bureaucratic post. Worn out, Luz made a bold decision to depart from his official duties and embark on a revitalizing journey across Asia. This time off not only rested his mind and soul but also reignited his artistic fervor.   Moreover, these travels exposed Luz to different cultures and traditions and provided him with new experiences and perspectives. He also marveled at the sight of breathtaking Asian landscapes and architecture, particularly the grand temples, complexes, palaces, and sacred royal tombs, all of which inspired him to create his Cities of the Past and Objects of the Past series.   Imaginary Landscape, painted in 2000, was one of the products of Arturo Luz’s Asian sojourn. Using his signature linear forms and two-colored palette, Luz skillfully captures the diverse architectural structures he encountered–tall, domed, upright, and slanted–with white paint over a black canvas. Essentially simplistic, the artist’s utilization of black and white added a hint of finesse and mysteriousness to this piece, creating a distant, dream-like portrayal of grand edifices and inviting viewers to imagine the details and colors within. (Jessica Magno)

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Jan. 25, 2025

    Arturo Luz (1926 - 2021)

    Est: ₱150,000 - ₱195,000

    Duo Performers signed 2021 stainless steel 86/100 13 3/4" x 9 1/2" x 5 1/2" (35 cm x 24 cm x 14 cm) > Accompanied by a certificate issued by The Crucible Gallery confirming the authenticity of this lot

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Jan. 25, 2025

    Arturo Luz (1926 - 2021)

    Est: ₱70,000 - ₱91,000

    Arturo Luz (1926 - 2021) Juggler handsigned (lower right) print 1/12 41 1/2” x 31 3/4” (105 cm x 81 cm) Accompanied by a certificate issued by Ms. Luisa Luz- Lansigan confirming the authenticity of this lot

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Jan. 25, 2025

    Arturo Luz (1926 - 2021)

    Est: ₱70,000 - ₱91,000

    Trio Musicians 1 handsigned (lower right) print 1/12 31 1/2” x 41 1/2” (80 cm x 105 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot 157

    Leon Gallery
  • Arturo Luz
    Dec. 18, 2024

    Arturo Luz

    Est: $1,000 - $1,500

    Filipino, b. 1926 Untitled Signed with artist's mark (ll) Acrylic and paper collage on paper 14 3/4 x 10 inches (37.5 x 25.4 cm) Unframed Some grime in white collage element at lower right. Small dent to lower left corner.

    DOYLE Auctioneers & Appraisers
  • Arturo Luz
    Dec. 18, 2024

    Arturo Luz

    Est: $1,000 - $1,500

    Filipino, 1926-2021 Black Collage, 2012 Signed with artist's mark (lr), signed with artist's mark, dated 2012 and inscribed as titled on artist's label affixed to the backing Acrylic and paper collage on paper 16 1/2 x 11 3/4 inches (42 x 30 cm) (Framed: 21 x 16 x 5/8 inches) Sheet is taped into mat along upper edge. Scattered white specks and general surface grime and wear throughout.

    DOYLE Auctioneers & Appraisers
  • Arturo Luz (1926 - 2021) - Javanese Temple Complex
    Nov. 30, 2024

    Arturo Luz (1926 - 2021) - Javanese Temple Complex

    Est: ₱1,800,000 - ₱2,340,000

    PROPERTY FROM THE NENA VILLANUEVA COLLECTION Javanese Temple Complex dated 2000 acrylic on canvas 40” x 48” (102 cm x 122 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot PROVENANCE: Acquired directly from the artist In 1988, following his resignation from his post at the Design Center Philippines, the Metropolitan Museum of Manila, and the Museum of Philippine Art, Arturo Luz embarked on a pilgrimage to the ancient temple sites of Asia – from Indonesia to Thailand, from Cambodia to as far as Nepal, Pakistan, and India, Luz was faced with beauties far better than imagined, invigorating his already inspired oeuvre. So inspired was the artist that even almost one decade later, Luz was still creating works inspired by his Asian trip. This 2000 Javanese Temple Complex followed the style he used in his Cities of the Past series, wherein he gave not literal, realistic versions of the towering temples but composite images from memory. “They are imagined, transformed, invented. None directly based on one source,” says his monograph written by Cid Reyes. As such, the Javanese Temple Complex is a reimagining of the temples themselves, reduced to straight lines and gold paint that stands out against the plain black background. The result is an image of royal resplendency and a callback to the sublime beauty of the past. The elegant precision with which Luz approached his architectural artworks belies the rich historical background of the place itself. In a marriage between mathematical precision and reductive discipline, his Cities of the Past is a simplistic but unmistakably Asian design, giving way to a unique series of landscapes. (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (b. 1926) - Relief XIV
    Nov. 30, 2024

    Arturo Luz (b. 1926) - Relief XIV

    Est: ₱800,000 - ₱1,040,000

    PROPERTY FROM THE PROFESSOR AMBETH R. OCAMPO COLLECTION Relief XIV dated October 3, 1972 automotive paint on wood 33" x 39" (84 cm x 99 cm) EXHIBITED Ateneo Art Gallery, Arturo Luz: Sculptures, Quezon City, 2004 LITERATURE Reyes, Cid. Arturo Luz. Makati City: Ayala Foundation and The Crucible for Globe Telecom, 1999. Illustrated with artwork description on page 159. The Spare Elegance of Arturo Luz From Ambeth Ocampo, Curator for the Arturo Luz Retrospective - While working on his Black on White and White on Black series, Arturo Luz drew heavily from the works of the acclaimed minimalist and brutalist artist Donald Judd. Here, Luz’s creations speak for themselves. They manage to follow the traditional tenets of minimalism wherein the piece’s primary goal is not to allude to any hidden meaning or message, but to direct the viewer towards the intrinsic nature of the art itself through shape, form, and space. He describes his works as “semi- representational and semi-abstract.” Both his sculptures and paintings are characterized by simple lines and geometric forms. Among his peers and contemporaries such as Manansala, HR Ocampo, and Legaspi, he was the one who veered towards pure abstraction. His Minimalism was a stark contrast to works of other artists who had a preference for bright colors and canvases full of forms from corner to corner. Luz’s aesthetic sensibilities were global and his subjects morphed from recognizable objects to mere artistic elements like lines and forms. Luz was described by art critic, Leo Benesa, as having "a Mandarin sensibility."

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Oct. 26, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱100,000 - ₱130,000

    Homage to Isamu Noguchi signed metal rose gold finish 8" x 8 1/2" x 7 1/4" (20 cm x 22 cm x 18 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot

    Leon Gallery
  • PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Arturo Luz (1926 - 2021)
    Oct. 26, 2024

    PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Arturo Luz (1926 - 2021)

    Est: ₱40,000 - ₱52,000

    Performers signed and dated 1962 (lower right) graphite on paper 14" x 10 1/2" (36 cm x 27 cm) Accompanied by a certificate issued by Mrs. Luisa Luz Lansigan confirming the authenticity of this lot LITERATURE Araneta, Antonio S., ed. 1030 R. Hidalgo: Volume II, Legacy in Art. Manila: Mara, Inc., 1986. Full-color illustration and painting description on page 166.

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Oct. 26, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱100,000 - ₱130,000

    a.) Untitled signed (lower right) pen and ink on paper 8" x 12" (20 cm x 30 cm) b.) Untitled signed (upper left) pen and ink on paper 8" x 12" (20 cm x 30 cm)   Arturo Luz’s artistic journey is a testament to his unwavering dedication to learning and development. A painter, sculptor, and printmaker, he fearlessly experimented with different styles, mediums, and themes, producing a diverse range of art pieces. While his early works were rooted in realism, Luz is most renowned for his minimalist, geometric abstraction in his unique themes of cyclists, acrobats, musicians, performers, ancient pottery, and Asian architecture, all within a limited palette. And among his works, collectors were vying for his Cities of the Past, Celebration, and Carnival pieces. Luz’s penchant for minimalism and linear structure is brilliantly showcased in this lot of two pen and ink-on-paper pieces. These works, consisting of vertical and diagonal, thick and thin lines of black ink, demonstrate his mastery of creating linear figures that complement bare spaces, making his works come alive. Throughout his career, he participated in numerous solo and collaborative exhibitions, gracing the walls of the finest museums and galleries worldwide. Aside from being an artist, he opened Luz Gallery in 1960, which became an avenue for esteemed and budding artists alike to showcase their works and talents. In 1977, Arturo Luz was conferred a National Artist for Visual Arts, the Philippines’ highest accolade in the arts. (Jessica Magno)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Juggler #1/12
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Juggler #1/12

    Est: ₱200,000 - ₱220,000

    Arturo Luz (1926 - 2021) Signed (lower right) and dated '2018' (in document) Special Limited Edition Fine Prints 106.7 x 81.2 cm (42 x 32 in) Accompanied by a Certificate of Authenticity signed by Luisa Maria Luz Lansigan Provenance: Formerly from the Private Collection of the Luz family

    Salcedo Auctions
  • Arturo Luz (1926 - 2021) - Trio Musicians #1/12
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Trio Musicians #1/12

    Est: ₱200,000 - ₱220,000

    Arturo Luz (1926 - 2021) Signed (lower right) and dated '2018' (in document) Special Limited Edition Fine Prints 81.2 x 106.7 cm (32 x 42 in) Accompanied by a Certificate of Authenticity signed by Luisa Maria Luz Lansigan Provenance: Formerly from the Private Collection of the Luz family

    Salcedo Auctions
  • Arturo Luz (1926 - 2021) - Anito #32
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Anito #32

    Est: ₱200,000 - ₱240,000

    Arturo Luz (1926 - 2021) Signed (lower half) and dated '2020' (in document) Stainless steel sculpture in mirror finish 40.6 x 15 x 15 cm (16 x 6 x 6 in) Accompanied by a Certificate of Authenticity signed by Luisa Maria Luz Lansigan

    Salcedo Auctions
  • Arturo Luz (1926 - 2021) - Cities of the Past No. 1
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Cities of the Past No. 1

    Est: ₱2,800,000 - ₱3,300,000

    Arturo Luz (1926 - 2021) Signed (lower right) and dated '2010' (on verso and in document) Acrylic on canvas 122 x 122 cm (48 x 48 in) Accompanied by a Certificate of Authenticity signed by Luisa Luz Lansigan In 'Cities of the Past No. 1,' National Artist Arturo Luz presents a cityscape defined by the careful orchestration of space and line. While the rhythmic linearity and subtle tones of the piece reflect influences from artists like Paul Klee and Joseph Glasco, Luz developed a distinctive style of his own, drawing inspiration from the "less-is-more" philosophy of traditional Japanese shibui and the Bauhaus movement. Unlike many of his contemporaries who embraced vibrant tropical colors, Luz is known for his restrained palette, typically limited to two or three hues, often muted by the use of black. This minimalist approach allows the forms to stand out with clarity and precision. In 'Cities of the Past No. 1,' the weightless structures and smooth, subtly textured surfaces--achieved through layers of thinly applied paint--reflect his meticulous craftsmanship. Every geometric shape and linear element is purposefully placed, showcasing Luz's commitment to thoughtful precision. The elegance and refinement of this piece make it unmistakably his work, instantly recognizable for its distinctive qualities even from a distance. Reference: Cid Reyes, Arturo Luz, Ayala Foundation and The Crucible Gallery, 1999

    Salcedo Auctions
  • Arturo Luz (1926 - 2021) - Black Forms, White Space
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Black Forms, White Space

    Est: ₱3,500,000 - ₱6,000,000

    Arturo Luz (1926 - 2021) Signed (on verso) and undated (2013 in document) Aluminum on metal 122 x 244 cm (48 x 96 in) Accompanied by a Certificate of Authenticity issued by the Crucible Gallery Provenance: The Crucible Gallery During the development of his 'Black on White and White on Black' series in the 1970s, National Artist Arturo Luz drew significant inspiration from the influential minimalist and brutalist artist Donald Judd. Luz's creations from this period resonate with his distinctive artistic voice, firmly rooted in the principles of minimalism. He emphasized the intrinsic qualities of the artwork itself, focusing on the purity of form rather than the underlying narrative or symbolism. His works, which are described as "semi-representational and semi-abstract," employ simple lines and geometric shapes, both in his sculptures and paintings. This approach sets Luz apart from his contemporaries such as fellow National Artists Vicente Manansala, H.R. Ocampo, and Cesar Legaspi, who often incorporated vibrant colors and complex compositions into their work. In contrast, Luz's commitment to pure abstraction marks a notable departure from prevailing trends, reflecting a global aesthetic sensibility where recognizable objects are reduced to the fundamental artistic elements of line and form. The lot on offer is reminiscent of Luz's renowned mural at the Cultural Center of the Philippines (CCP), 'Black Forms, White Space,' which was completed in 1976. This mural epitomizes Luz's minimalist ethos, showcasing his exceptional ability to transform basic materials into profound visual statements. The piece, which is created from a weighty amalgamation of metals, mirrors the influences and distinctive style seen in his earlier works. It highlights Luz's dedication to the minimalist philosophy, illustrating his skill in creating impactful visual experiences from seemingly simple materials. The work stands as a reflection of his mastery of form and space, emphasizing his exploration of abstract expression. Reference: Cid Reyes, Arturo Luz, Ayala Foundation and The Crucible, 199

    Salcedo Auctions
  • Arturo Luz (1926 - 2021) - Homage to Isamu Noguchi
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Homage to Isamu Noguchi

    Est: ₱495,000 - ₱550,000

    Arturo Luz (1926 - 2021) Signed (upper half) and dated '2020' (in document) Aluminum round bar 31.7 x 54.6 x 50.8 cm (12 1/2 x 21 1/2 x 20 in) Accompanied by a Certificate of Authenticity issued by the Crucible Gallery

    Salcedo Auctions
  • Arturo Luz (1926 - 2021) - Untitled
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Untitled

    Est: ₱120,000 - ₱160,000

    Arturo Luz (1926 - 2021) Ipil 50.5 x 18 x 17 cm (20 x 7 x 6 3/4 in) Accompanied by a provenance document

    Salcedo Auctions
  • Arturo Luz (1926 - 2021) - Cyclist VIII
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Cyclist VIII

    Est: ₱90,000 - ₱100,000

    Arturo Luz (1926 - 2021) Signed and dated 'May 62' (1962, upper and lower right) Pencil on paper 33 x 21.6 cm (13 x 8 1/2 in) A West Gallery label is affixed to the back of the frame Accompanied by a certificate signed by Mauro Malang Santos

    Salcedo Auctions
  • Arturo Luz (1926 - 2021) - Boxes and Shells No. 1
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Boxes and Shells No. 1

    Est: ₱700,000 - ₱910,000

    Boxes and Shells No. 1 signed (lower left) dated September 1994 acrylic on canvas 24” x 36” (61 cm x 91 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot WRITE UP The 1990s was an era of exploration and new beginnings for Arturo Luz, a period of rekindling his passion for the arts. Following his departure from his burdening bureaucratic posts, Luz ventured into a rejuvenating journey across Asia. He marveled at the sight of astonishing architecture: majestic temples, complexes, palaces, and sacred royal tombs, all of which prompted him to create his Cities of the Past series. Arturo Luz experimented with different styles, mediums, and periods throughout his artistic career, producing exciting and varied art pieces. However, one can identify a Luz piece by its minimalist, simplistic composition of white-outlined linear objects filled with or backgrounded with blacks and reds. Box and Shells No. 1 is a product of Luz’s artistic rediscovery and reimagining. It features three shells and two boxes sitting atop one another, with a singular shell inside the top box, all placed on a table. Luz’s use of white lines accentuates and separates the objects from the background of a red wall and black table. Despite his inclination to minimalism, Luz is a master of creating linear figures to complement bare spaces, making his works alive. “His sense of form is alive and distinguished: he knows abstraction and austerity, the sense of space and balance, he distorts with institutional rightness and grace — in other words, he is a real artist.” — Jose Garcia Villa, National Artist for Literature, on Luz’s prize winning work at the 5th Art Association of the Philippines’ annual art exhibition in 1952. (Jessica Magno)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Black Sun, Red Sky
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Black Sun, Red Sky

    Est: ₱500,000 - ₱650,000

    Black Sun, Red Sky signed (lower left) dated 2013 acrylic on canvas 24” x 30” (61 cm x 76 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot WRITE UP Throughout his artistic journey, Arturo Luz explored various styles and mediums. Still, he is most known for his minimalist, geometric, and abstract styles, which began with his figurative, carnival subjects in the 1950s. This period was marked by Luz’s portrayal of his subjects with simple geometric shapes, reducing them to their most basic forms, a testament to his ability to find beauty in simplicity. The above mentioned was a precursor to his later shift to minimalism, where he would abandon figurative painting and embrace more straightforward, linear forms with a limited palette. Luz’s penchant for minimalism and linear structures is manifested in this lot, Black Sun, Red Sky, which reflects the artist’s exploration of contrast and balance in his later works. A twin black mountain made with scribbles of white lines resembling grids is positioned against the titular black sun and red sky. Perhaps age is nothing but a number to Arturo Luz, for the master painter made this piece in 2013, in the hoariness of his late 80s. (Jessica Magno

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Celebration
    Sep. 14, 2024

    Arturo Luz (1926 - 2021) - Celebration

    Est: ₱600,000 - ₱780,000

    Celebration dated 1965 collage on masonite board 36” x 24” (91 cm x 61 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot PROVENANCE: The Luz Gallery, Private collection, USA WRITE UP Throughout his childhood and adolescence, Arturo Luz did not—not even once—show any inclination for the arts; all he ever cared about was swimming. “The idea of making art never once occurred to him,” Cid Reyes writes in his monograph on Luz. “But when it did, he was already seventeen years old and living in a time of disturbance and destruction,” he adds. In this monograph, Luz recalled the significant moment he decided to become an artist. It was during the war, a hot and lazy afternoon in their residence in Pasay, that he just, without provocation, sketched his mother’s face. “It was the very first drawing I ever made in my life. From that moment on, I said to myself: I am going to be an artist,” shares Luz. And so, be an artist, he did. When the war ended, Luz started studying art, firstly under the private tutorship of Pablo Amorsolo, brother of the esteemed Fernando Amorsolo. Their classes occur in the siblings’ residence, where the young Luz first met and basked in the maestro’s works. After this private tutorship, he went to several local and international universities to further his art studies. Arturo Luz’s artistic journey is a testament to his unwavering dedication to learning and development. He fearlessly experimented with different styles, mediums, and themes, producing a diverse range of art pieces. While his early works were rooted in realism, Luz is most renowned for his minimalist, geometric abstraction in his unique themes of cyclists, acrobats, musicians, performers, ancient pottery, and Asian architecture. Luz started to delve deeper into the world of abstraction in the 1950s. A playful scene prompted this shift in his painting style, which he witnessed during the New Year’s Eve celebration in 1952: four men riding a single bicycle. “That sight struck me as very Filipino... [it] had a sense of celebration, performance, [and] joy of life,” says Luz. That very sight resulted in his Bagong Taon, a painting of silhouetted cyclists with tooting horns on their heads—the beginning of his simplistic linear and geometric works of minimizing his figures into their most basic shapes. In the 1960s, Luz began working with his collages, characterized by sticking cut pieces of paper in different shapes on a surface and overlaying them with acrylic paint. Celebration is a testament to Luz’s unyielding talent and ingenious artistry, an incorporation of his newly developed practice and his carnival and musician themes. This 1965 collage on masonite board, despite its simplistic, geometric forms and monochromatic, washed red, and muted beige, still managed to capture the vibrant and high-spirited qualities of one’s celebration.

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Jul. 27, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱130,000 - ₱169,000

    Homage to Isamu Noguchi signed metal rose gold finish 8" x 8 1/2" x 7 1/4" (20 cm x 22 cm x 18 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot

    Leon Gallery
  • Arturo Luz (1926-2021)
    Jun. 11, 2024

    Arturo Luz (1926-2021)

    Est: $400 - $600

    UNTITLED (KHMER) Offset lithograph, 1972, on wove paper, signed in pencil, with full margins, framed. Sheet 5 7/8 x 5 1/2 inches; 149 x 140 mm. Frame 20 7/8 x 16 inches; 530 x 406 mm.

    DOYLE Auctioneers & Appraisers
  • Arturo Luz
    Jun. 11, 2024

    Arturo Luz

    Est: $2,000 - $4,000

    Filipino, 1926-2021 Black Collage, 2012 Signed with artist's mark (lr), signed with artist's mark, dated 2012 and inscribed as titled on artist's label affixed to the backing Acrylic and paper collage on paper 16 1/2 x 11 3/4 inches (42 x 30 cm) (Framed: 21 x 16 x 5/8 inches) Sheet is taped into mat along upper edge. Scattered white specks and general surface grime and wear throughout.

    DOYLE Auctioneers & Appraisers
  • Arturo Luz
    Jun. 11, 2024

    Arturo Luz

    Est: $2,000 - $4,000

    Filipino, b. 1926 Untitled Signed with artist's mark (ll) Acrylic and paper collage on paper 14 3/4 x 10 inches (37.5 x 25.4 cm) Unframed Some grime in white collage element at lower right. Small dent to lower left corner.

    DOYLE Auctioneers & Appraisers
  • Arturo Luz (1926 - 2021) - Trio Performers #61
    Jun. 08, 2024

    Arturo Luz (1926 - 2021) - Trio Performers #61

    Est: ₱200,000 - ₱260,000

    Trio Performers #61 signed 2021 mild stainless steel 11 1/2" x 6 1/2" x 12 1/2" (29 cm x 17 cm x 32 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot One of the muses that Arturo Luz frequently courts are circus performers. Throughout his prolific 40-year career, images of cyclists and jugglers in the peryas he visits so often find themselves on his canvases and later, as the artist expands his horizon, in various mediums as seen in his 2021 Trio Performers #61. With the lot in hand, the geometric minimalism that marked Luz’s circus paintings translates into thin, straight steels he used as the performers' arms and legs. Although sculpture is inherently three-dimensional, Luz echoes his two-dimensional paintings by using flat circles and triangles for the monocycles and the performers' bodies, respectively. His unique visual language transcends art mediums; indeed Luz’s Trio Performers #61, much like his notable circus paintings, replicates the joy of a nighttime perya, its entertainment stimulating and accessible to the Filipino masses (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Three Performers
    Jun. 08, 2024

    Arturo Luz (1926 - 2021) - Three Performers

    Est: ₱2,200,000 - ₱2,860,000

    Three Performers signed (lower right) 1994 acrylic on handmade paper 60" x 48" (152 cm x 122 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot PROVENANCE: Private collection, Manila The Luz Legacy Carnival Extravaganza Arturo Luz is a versatile master artist, proficient in various art forms including sculpture, printmaking, design, and, most notably, painting. He is renowned as an innovator and a founding figure in the Neo-realist school of art, alongside contemporaries such as Vincente Manansala and H.R. Ocampo. Born in Manila in 1926, Luz's artistic journey began at a young age, and he later pursued formal training at the School of Fine Arts of the University of the Philippines and the Camino Real in Mexico. These formative years played a crucial role in shaping his artistic vision and laid the groundwork for his illustrious career. Luz's artistic style was heavily influenced by the modernist movement, drawing inspiration from painters such as Paul Klee. Throughout his career, which spanned several decades, he continuously explored a variety of techniques and approaches, experimenting with dynamic geometric forms and figures. One of Luz's notable works, “Three Performers,” depicts a scene from a circus show featuring the titular performers. Set against a bold red background, the human figures are rendered in black and white, highlighting Luz's dynamic technique. Despite the minimalist detail, Luz's use of linear lines and disproportionate geometric shapes effectively communicates the lively atmosphere of the scene to the viewer. This piece exemplifies Luz's focus on complex techniques of figure depiction, showcasing his skill and signature style as a national artist. His ability to capture the essence of a scene with minimalistic yet powerful imagery is a testament to his groundbreaking practice. Arturo Luz's contributions to Philippine art extend beyond his own artwork. As a teacher and mentor, he has inspired countless aspiring artists, leaving an indelible mark on the Philippine art scene. His dedication to his craft and his relentless pursuit of artistic innovation have earned him a well-deserved place among the country's most celebrated artists. (Jed Daya)

    Leon Gallery
  • Arturo Luz
    May. 08, 2024

    Arturo Luz

    Est: $6,000 - $9,000

    Filipino, 1926-2021 Golden Sun, Rajasthan, 2006 Signed with artist's mark (lr), inscribed Toletan/much love from/Arturo & Tessie/Mar. 2006 Manila on the reverse, signed with artist's mark, dated 2006 and inscribed as titled on a label affixed to the reverse Acrylic and collage on canvas laid to panel 16 x 24 inches (40.6 x 61 cm) Unframed Some light surface scuffs most apparent in black medium. Light edge wear. All four corners show light wear with associated rubs and small losses.

    DOYLE Auctioneers & Appraisers
  • Arturo Luz (1926 - 2021)
    Apr. 20, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱80,000 - ₱104,000

    Flight #30 signed stainless steel in satin finish 8 1/2" x 12" x 7" (22 cm x 30 cm x 18 cm) Accompanied by a certificate signed by Luisa Luz-Lansigan confirming the authenticity of this lot

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Apr. 20, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱200,000 - ₱260,000

    Anito # 32 2020 signed stainless steel sculpture in mirror finish 16" x 6" x 6" (41 cm x 15 cm x 15 cm) Accompanied by a certificate signed by Luisa Luz- Lansigan confirming the authenticity of this lot

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Apr. 20, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱130,000 - ₱169,000

    Cyclist signed and dated 1962 (lower right) graphite on paper 23" x 35" (58 cm x 89 cm)

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Apr. 20, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱50,000 - ₱65,000

    Untitled signed (lower left) collage 16" x 11" (41 cm x 28 cm) Accompanied by a certificate signed by Luisa Luz-Lansigan confirming the authenticity of this lot

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Apr. 20, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱30,000 - ₱39,000

    a.) Untitled signed (lower right) pen and ink on paper 8" x 12" (20 cm x 30 cm)   b.) Untitled signed (upper left) pen and ink on paper 8" x 12" (20 cm x 30 cm) "Accompanied by a certificate signed by Luisa Luz-Lansigan confirming the authenticity of this lot"

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Apr. 20, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱20,000 - ₱26,000

    Untitled handsigned lithograph 5 1/4" x 5 1/2" (13 cm x 14 cm) each

    Leon Gallery
  • Arturo Luz (1926 - 2021)
    Apr. 20, 2024

    Arturo Luz (1926 - 2021)

    Est: ₱40,000 - ₱52,000

    Collage 6 (set I) signed (lower right) collage (c-prints) artwork size: 6 1/2" x 9" (17 cm x 23 cm) with frame size: 15" x 18" (38 cm x 46 cm)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Cubi # 6
    Mar. 09, 2024

    Arturo Luz (1926 - 2021) - Cubi # 6

    Est: ₱160,000 - ₱208,000

    Cubi # 6 signed and dated 2021 stainless steel 5" x 5" x 5" (13 cm x 13 cm x 13 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot WRITE UP: Arturo Luz’s swerve towards sculpture in the 1960s was not surprising, least of all to the artist himself. A pioneer of the Philippine Neo-realist movement, Luz first began his career in the arts with painting and sketching, picking up a pen and paper to draw his mother’s portrait and discovering his aptitude for the craft in the process. His early works were figurative before veering to abstractions. “The important elements were line, composition, relationships,” says Luz regarding the switch. “The net result was that I dropped the subject.” “I think [sculpture is] a very logical step from the kind of painting I do,” Luz continues. “I have always had a strong attraction for three-dimensional work … I like to deal with volume and space.” Made from stainless steel and in Luz’s typical small-scale model, Cubi #6 showcases Luz’s aforementioned talent in manipulating volume and space. Cubi #6 was created at the twilight of Luz’s career and thus features his craft at its maturity. A cube balancing on its side, Luz has elevated his geometric minimalism to a three-dimensional form, t he empty spaces left within the cube telling as many stories as the sculpted ones do. (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Carnival Forms II
    Mar. 09, 2024

    Arturo Luz (1926 - 2021) - Carnival Forms II

    Est: ₱3,400,000 - ₱4,420,000

    Carnival Forms II signed (lower right and verso) dated 1993 acrylic painting / collage 72" x 48" (183 cm x 122 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot PROVENANCE: León Gallery, The Magnificent September Auction, Makati City, 10 September 2022, Lot 83. WRITE UP: Arturo Luz's propensity for the festive can be traced back to the 1950s. It started in 1952 when Luz witnessed a somewhat playful scene: four men riding a single bicycle. "The sight struck me as very Filipino," Luz shares. Luz translated this scene into a 1952 work titled Bagong Taon, which depicts silhouetted figures of cyclists. "In the painting, I added the tooting horn…[It] had a sense of celebration, performance, joy of life. This was the granddaddy of them all," says the artist. According to Cid Reyes, in his 1999 book on the artist, Bagong Taon, with its depiction of the tooting horn, suggested another celebratory series: the musicians, notably in Musikero. Luz remarks: "In Manila, musicians with neither talent nor jobs then made a living by serenading from door to door. They go about in pairs, forming the most unlikely duos, with their clarinet and drum, cymbals and horn." In 1954, Luz and another PAG fellow Cesar Legaspi received a grant from the Spanish embassy. With the help of another PAG stalwart, Fernando Zóbel, the two obtained scholarships from the Instituto de Cultura Hispánica. At the end of their studies in 1955, Luz solely explored Europe. Luz found Europe as an exuberant continent, enkindling a nostalgia for his native Philippines. During these travels, he created numerous drawings of the places he visited. Luz's acrobats would manifest themselves in these drawings for the first time. These works hark back to the bizarre scene Luz witnessed in 1952, in which the four men resemble acrobats skillfully balancing on tall unicycles. But it was in sunny Madrid, with the spirit of its annual 'Carnival' still lingering, where the carnival theme would emerge from Luz's creative fountain. Reyes says of this period: "The series, which he called Carnival Wall, contained the single common image of the Ferris wheel rendered as a circular shape with spokes emanating from the center. In the latter half of the 1950s, covering Luz's return to the Philippines, he devoted himself to the subjects of carnivals and musicians. Reyes writes: "The carnival theme shifted from the simplest renditions of Ferris wheels to the most elaborate and filigreed versions." Thanks to these festive themes—and his modernist virtuoso—Luz emerged as a critically lauded, revered artist. From the 1960s to the 1980s, Luz temporarily cast aside his penchant for the carnival and explored other themes in various media: sculpture, collage, and burlap. Like the gradual circular motion of the Ferris wheel, Luz would finally come full circle four decades later. In the 1990s, he embarked on his most iconic, grandest, and sustained series of works—Celebration, Carnival Forms, and Forms of Amusement. Particularly in the Carnival Forms series, to which the work at hand belongs, Luz evokes the exciting and nostalgic atmosphere of a carnival executed through his rigorous discipline, solid mathematical instincts, and a harmonious relationship between linear forms and colors, albeit applied sparsely. Reyes writes that Luz further reduced the subject into its most elementary forms in these works. The artist uses circles of varying sizes to evoke the figures of towering yet calming Ferris wheels. Oblongs and ovals represent the rousing drops, rises, turns, and sudden speeds of the winding roller coasters. The shapes overlap, suggesting the carnival's vibrancy, especially when seen from a certain distance. Luz employs crumpled paper for the bases and loops of the roller coasters and the main axles of the Ferris wheels. "I had to destroy the smoothness of paper," Luz says. The easiest way to destroy the surface of the paper is to crumple it, to rid it of its shiny, metallic quality. Having done that, the paper is straightened flat and glued on plywood. When paint is applied on that crumpled surface, you get these intricate webs of lines. It's an interesting effect you won't get another way." Indeed, in its origins and technical brilliance, Luz's Carnival Forms is a celebration of all sorts. It is a testament to his versatility in reconfiguring on a much grander scale the various subjects that had previously lingered in his spirited imagination, thus capably surpassing his own creative genius. (Adrian Maranan)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Forms
    Mar. 09, 2024

    Arturo Luz (1926 - 2021) - Forms

    Est: ₱3,000,000 - ₱3,900,000

    PROPERTY FROM THE DON EUGENIO “GENY” LOPEZ JR. COLLECTION Forms signed and dated 1968 (verso) each collage / mixed media 24" x 21" (61 cm x 53 cm) each Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot PROVENANCE: The Luz Gallery WRITE UP: I n 1969, in a one-man exhibition, Arturo Luz had shed any vestiges of figurative reality in his canvases. Gone were his circus performers, his musicians, his acrobats – in their place were patches of colors and papers in various expertly composed shapes in the same vein as Roberto Chabet’s collages. The process is “tedious and mechanical” but as critic Emmanuel Torres writes in his column Way of Seeing, the exhibit is “a visual treat.” The series of work at hand was done a year before Luz’s impactful exhibition. With his canvases now bare of human – or figurative – subjects, his muted colors and geometric shapes reduced his painting to its essence. Luz underwent almost chameleon-like changes throughout his career, going through different art styles, mediums, and periods. He consistently explored new areas instead of exploiting territories he had already mastered, resulting in an interesting and varied oeuvre that the lot at hand makes veritable proof of. (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Moonscape
    Mar. 09, 2024

    Arturo Luz (1926 - 2021) - Moonscape

    Est: ₱5,000,000 - ₱6,500,000

    PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY Moonscape ca. 1960 enamel on canvas Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot PROVENANCE Metropolitan Museum of Manila EXHIBITED Metropolitan Museum of Manila, Arturo Luz: A Retrospective, Manila, 1995 LITERATURE Reyes, Cid. Arturo Luz. Makati City: Ayala Foundation and The Crucible for Globe Telecom, 1999. Full-color photograph and painting description on page 122. WRITE UP: Apiece that forms part of Arturo Luz’s early works, Moonscape comes from the artist’s series of works in the early 1960s focusing on skyscapes. It is a progression from his earlier cityscapes of the late 1950s, a body of work that gave him two successive first prize nods at the Art Association of the Philippines Annual Art Exhibition: “Venezia No. III” at the 1958 Annual and “City” at the 1959 Semi-Annual. Both the “cityscapes” and “skyscapes” series, in their form and essence, would trace their origins to the “carnivals” and “musicians” series that captured Luz’s propensity for the starkness of linear forms. This penchant for lines, Luz says in Cid Reyes’ monograph on him, was influenced by the prehistoric art found in the caves of Lascaux and Altamira and the American painter, illustrator, and cartoonist Saul Steinberg, whose eccentric linearity found reimagination in Luz’s oeuvre. In fact, this penchant for linear forms would mark his triumphant coming-of-age in the post-war Philippine art scene: his first-prize win (for Modern painting) for “Bagong Taon” at the 1952 AAP Annual. Much like his “cityscapes,” Luz’s “skyscapes” were rendered in rectangular canvases made intentionally by the artist to offer a panoramic expanse, an unbridled spectacle of the heavenly domain. In Moonscape, we are greeted by invigorating weblike, sinuous patterns that seemingly evoke wreaths of stars and billows of clouds blanketing a breathtaking universe of tranquility that is the enigmatic night sky. Like the Japanese concept of shibui, Luz imbibes liberty in visual exegesis to the viewer; one can imagine that under the sweeping lines borne from Luz’s logical spontaneity can be found a city lulled to sleep by the night sky, in which the baffling impenetrability of the still largely uncharted cosmos quiets us as it goes right past our weary eyes. Luz’s use of enamel, a ubiquitous characteristic of his early works, was necessitated by the fact that painting materials, especially oil, were innately expensive, and the post-war situation submerged the Filipino artist under the throes of financial constraints. Luz succinctly narrates in the Reyes monograph: “In the early days, none of us were concerned about the high quality of our material. We would grab just any material. We never worried that our paintings would survive after 200 years. We had no concern for the purity or sanctity of materials. Acid-free boards were unheard of.” Nevertheless, Luz’s exploration of enamel evokes the neorealist spirit of experimentation in the immediate post-war period. “I preferred to use enamel. Although enamel is the crudest, worst possible paint an artist can use, I liked its viscosity…,” Luz says in the same monograph. “I would dip my brush in the can, then rub it on paper till the brush is nearly dry. Only then do I apply the brush on the canvas. Just skimming the surface. I would use various colors. Yellow. White. Red. Black. In the end, you can’t tell what color it is. It begins to shimmer and show its iridescence. Far greater is the idea that since the layers are so thin, so numerous, so dry, the painting becomes indestructible. After nearly fifty years, I have never seen a painting of mine crack, peel off, or change. That’s my big satisfaction.” Moonscape would be included in Luz’s 1995 retrospective at The Metropolitan Museum of Manila, which he founded in 1976 and ultimately supervised as Director from 1976 to 1986. (Adrian Maranan)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - The Great Stupas
    Mar. 09, 2024

    Arturo Luz (1926 - 2021) - The Great Stupas

    Est: ₱1,600,000 - ₱2,080,000

    PROPERTY FROM THE DERRICK AND RIA SANTOS COLLECTION The Great Stupas signed (lower right & verso) dated 1995 (verso) acrylic on canvas 30" x 48" (76 cm x 122 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot WRITE UP: The 1990s are considered a high point in Arturo Luz’s artistic career, a renaissance and revitalization of all sorts. Towards the end of the preceding decade, the burdened Luz resigned from all his bureaucratic responsibilities at the Design Center Philippines, the Metropolitan Museum of Manila, and the Museum of Philippine Art. He would then embark on an extensive trip all over Asia, visiting Indonesia, Thailand, Cambodia, Burma (Myanmar), Pakistan, Nepal, and India. Armed with a camera, Luz took beautiful shots of the ravishing ancient architecture of those countries: majestic temple complexes, monumental palaces, and sacred royal tombs. Right before his very eyes, Asian architecture seemingly soared into the hallowed expanse of his imagination. The dynamic culmination of this wonder and awe was Luz’s iconic Cities of the Past Series, one in a series of works during the 1990s that would become the quintessential Arturo Luz: Celebration, Carnival Forms, Forms of Amusement, and Cities of the Past. Luz had begun exploring the subject of the city during the early part of his career, starting in the latter part of the 1950s. The inherent similarity of the earlier iterations of his urban subjects and the Cities of the Past lies in their neo- realist aim of reconstruction, albeit in two strikingly different modes: the former an allusion to the alienating aspects of urban living, especially in the post-war milieu. The brilliance of the Cities of the Past lies not only in Luz’s mathematical and geometrical precision but in his profound aim of reimagining, reconstructing, and perhaps “preserving” the grandeur of ancient Asian architecture and the thriving and sprawling spaces they had occupied before the influx of westernization in the guise of “globalization.” In his Cities of the Past, history, cultural ingenuity, and heritage become alive more than ever. (Adrian Maranan)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - 4 Bottles
    Mar. 09, 2024

    Arturo Luz (1926 - 2021) - 4 Bottles

    Est: ₱900,000 - ₱1,170,000

    4 Bottles signed (lower right) ca. 2000 acrylic on canvas 30" x 24" (76 cm x 61 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot WRITE UP: In 1988, after resigning from his government posts, Arturo Luz embarked on a journey to Southeast Asia. Armed with a camera, Luz captured Cambodia’s Angkor Wat, Indonesia’s Borobudur, and Thailand’s Sukhothai, even going past the Southeast Asian borders to Nepal, Pakistan, and India. These travels brought to Luz’s attention the breathtaking beauty of Asia’s ancient temple sites, inspiring him enough to create his Cities of the Past series. This 1994 work 4 Bottles comes from an extension of this series entitled Objects of the Past. Like the Cities of the Past series, which transformed the sceneries he encountered during his Asian sojourn into a composite recollection of the sites, Objects of the Past utilizes still-life to evoke an image of a distant culture. As written by Cid Reyes in Luz’s monograph, Luz’s still- life creates a “tableau of pre-Hispanic pottery and Chinese pottery.” In the lot at hand, the titular four bottles sit atop a box-like figure, white lines against black. Luz’s brilliant composition emphasizes rather than negates the spatial isolation. Perspective is almost nonexistent, with Luz stating: “I want my viewers to be puzzled by it. I am not interested in the physical appearance of things but rather the nature of things.” Indeed, 4 Bottles puzzles his audience in a way that is distinctly Arturo Luz. He strips his still life down to its core, powerful in its austerity and bold in its interrogation. Luz’s works transcend mere aesthetics – it is a cerebral experience that paves the way for connection and self-discovery. Through his enchanting fusion of linearism and clever wit, Luz offers a contemplative intersection between the figurative and the abstract. (Hannah Valiente)

    Leon Gallery
  • Arturo Luz (1926 - 2021) - Artefacts
    Mar. 09, 2024

    Arturo Luz (1926 - 2021) - Artefacts

    Est: ₱1,400,000 - ₱1,820,000

    Artefacts dated 2000 signed (lower right) mixed media 24" x 48" (61 cm x 122 cm) Accompanied by a certificate issued by Ms. Luisa Luz-Lansigan confirming the authenticity of this lot WRITE UP: Painter, sculptor, and designer Arturo Luz elevated the Philippine art scene to new grander heights. For over 40 years, Luz created masterpieces that in its sophisticated austerity inspired a generation of artists and helped cement Luz’s position as one of the most influential Filipino artists. The 2000 Artefacts is Arturo Luz’s minimalism at its finest. His mastery of multiple mediums is at full display – Luz’s canvases may be minimal but it is not empty. Thin precise lines guide the viewer’s eye across the sparse canvas; the work is monochromatic with a plain black background. The only pop of colors are three rectangles placed strategically near the edges of the work, colored in a bright red staple in a Luz canvas. Here, his innate sense of composition shines – the limited elements complement the bare spaces without making the canvas feel empty and lifeless. Even with scant details, Luz’s meticulous form and sense of detail is alive and distinguished. “[Arturo Luz] knows abstraction and austerity,” National Artist for Literature Jose Garcia Villa wrote. “The sense of space and balance, he distorts with intuitional rightness and grace — in other words, he is a real artist.” (Hannah Valiente)

    Leon Gallery
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