Lot 99: Lorenzo Guerrero (1835 - 1904)

Lorenzo Guerrero (1835 - 1904)
Santa Filomena Virgen Martyr
signed (lower right) 1873
oil on canvas
24” x 18” (60 cm x 44 cm)

PROPERTY FROM THE DON BENITO J. LEGARDA JR. COLLECTION

Provenance:
Originally from the collection of Dr. Alfredo Ma. Guerrero; then from the collection of Don Benito J. Legarda, Jr.

Literature:
Manuel, E. Arsenio. Dictionary of Philippine Biography. Volume One. Filipiniana Publications. Manila. 1955. p. 215.

Despite a devotion to art spanning more than 50 years, there are very few surviving works by Lorenzo Guerrero. The majority of them disappeared in the flames of World War II. This treasure, unseen by the general public for several decades, has an impeccable provenance, coming from the private collection of the distinguished scholar and historian Don Benito J. Legarda Jr. Lorenzo Guerrero would teach himself how to paint so well that by the age of 16, he had been accepted astonishingly as an instructor in the Manila Academia. Jose Rizal confirmed this ability by describing him as a "master who had virtually taught himself.” And Guerrero put that talent for training his own abilities to good use by instructing others. He would impart not just his love of the arts but also the necessary techniques to take his students’ gifts to their highest level. Thus, he mentored practically all of the Philippines’ greatest masters of the 19th century. His most famous pupils at the Academia were Juan Luna and Felix Resurrección Hidalgo but he also molded Miguel Zaragoza, Telesforo Sugcang, and Fabian de la Rosa, to name a very few. by Lisa Guerrero Nakpil The renowned biographer of eminent Filipinos, E. Arsenio Manuel, would credit Guerrero for being a sort of multifaceted cultural leader of the era by cultivating and encouraging the whole range of the arts, encompassing poetry, prose, and music “in a notable degree” during his time. “In his house in Ermita,” Manuel said, “he gave lessons to a few and talked on art to students attending the Colegio de Nuestra Señora de Guia. His house became a sort of a club in which he was the dominant figure. Toribio Antillon, Ramon Martinez, Vicente Rivera y Mir (who would become teachers in their own right) and others visited him often and received much encouragement and criticism from him as much as Fabian de la Rosa did. Epifanio de los Santos, the historian and connoisseur, was a frequent visitor. Santos subsequently reminisced: ‘Don Lorenzo, as he was lovingly called, was not only a great teacher to whom men as renowned as Juan Luna and Fabian de la Rosa are indebted, but also a most appreciative critic of the literary and musical arts.’ ” At the same time, Manuel wrote, “Guerrero was giving drawing lessons in Santa Isabel and La Concordia, schools for girls, besides domiciliary lessons in the homes of students, most of whom of prominent Manila families, both from the Spanish community and the Filipino middle or upper class… Among his male pupils were Manuel Espiritu, Anselmo Espiritu, Eulogio Garcia, Juan Luna (who also received private lessons), Juan Arellano, architect, Miguel Reyes, artist and photographer, and Alfredo Guerrero, physician, painter and nephew.” Saint Filomena (c. 291-304) is believed to be a Greek princess who refused the advances of the Roman emperor Diocletian. For spurning him, she was subjected to various forms of torture, including scourging, drowning by being tied to an anchor and thrown into the Tiber, and being shot by arrows. Each time, angels would appear and save her and heal her wounds. She is said to have appeared to Mother Maria Luisa de Gesu in a vision and on that basis was canonized in 1837. In this magnificent portrait, Guerrero captures the saint holding a forbidding anchor with one hand while clutching a pair of arrows to her breast with the other, symbols of the trials she would triumph over. She wears the red cloak of bravery. Her expression is beatific, one of gratitude as well as a certain other-worldly peace as she gazes upwards, illuminated by God’s grace that lights up the otherwise dark dungeon in which she has been thrown. It is dated August 10, 1873, which happens to be date of the death of Sta. Filomena. (Her feast day is marked on August 11th) and appears to be proof of Guerrero’s devotion to this wonderworker and patroness of lost causes. Most importantly, E. Arsenio Manuel records the existence of this divine portrait and furthermore describes it. “Guerrero’s brush touched chiefly two subjects: strictly religious themes and scenes depicting native life and customs. To the first belongs Santa Filomena, a small piece showing gifted delicacy of execution. It compares favorably with a copy of a French painting of the same title made by Felipe Roxas (q.v.), though the latter is many times larger. The lively expression of Saint Filomena's face is arresting. This work used to belong to Dr. Alfredo Guerrero's collection.’ Fortunately, it survived by passing into other hands. (Dr. Alfredo Guerrero would marry the suffragette and first Filipina pharmacist, Filomena Francisco. He was in possession of a second, much larger work, also described by his daughter Carmen Guerrero Nakpil as “depicting the dead “Santa Filomena”, floating on the River Tiber, which was dedicated to her namesake” that hung in the Guerrero house which was bombed and shelled in the Battle of Manila in 1945.) (Lisa Guerrero Nakpil)