BRISTLES,
pixels
and
heels
{
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MASTERPIECES RENDERED THROUGH
PHOTOGRAPHY
By RAXENNE DOSHER MANIQUIZ Words by ZYRAEL GENESIS FORTES
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“Art is the most intense mode of individualism that the world has known.� -oscar wilde
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For Dennis and Rosella
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BRISTLES,
pixels
and
heels
{
{
MASTERPIECES RENDERED THROUGH
PHOTOGRAPHY
By RAXENNE DOSHER MANIQUIZ Words by ZYRAEL GENESIS FORTES
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introduction renaissance baroque rococo neo-classicism romanticism impressionism art nouveau post-impressionism fauvism expressionism cubism de stijl surrealism abstract expressionism pop art contributors
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p. 10 p. 12 p. 20 p. 28 p. 32 p. 36 p. 40 p. 44 p. 50 p. 54 p. 62 p. 68 p. 72 p. 78 p. 84 p. 90 p. 100
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introduction Throughout history, man has always attempted to record beauty, and to battle or in some cases even celebrate, the transience of it. Artists are apparently aware of the fact that beauty thrives in reproduction: they have captured beauty into their memories, and successfully turned these memories into songs, performances, and images. hey have always found a way to convince beauty to stay. It is in this regard that this book has been put together. Painters have, among artists of other media, have created tangible records of beauty and the times through the bristles of their brushes and their masterful treatment of paint. They have told us their side of the story through different styles and in many art movements. Paintings have served a vital role in telling us about our past, and as the practice constantly evolves, have made us understand the present and define our future. It is undeniable that through the practice and appreciation of art, we have learned more about ourselves. Fashion, on the other hand, reflects the human awareness of his own mortality and his consciousness of art as a means to record life and its ephemera. People have continuously learned to reinvent themselves. They have learned to use their manner of presenting themselves as an expression of their beliefs, membership to a geographical or cultural group, and status, as they visually evolve along with their acquisition of knowledge and wealth. In ways both aesthetic and functional, fashion has enabled people to be more within the short lives that they lived. Fashion made them appreciate themselves and what they do more.
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While painting recorded and ensured the longevity of beauty, memory and history, it is because of the technology of photography that we are truly convinced of our own high regard for these. Photography is magical: we are made able to capture the world inside photographs despite its fast-changing nature and beyond the limits of own sense of sight. We leave our homes with our phone cameras, take our cameras to gatherings and big events, and teach our children about photography in schools -- the world has become an army of photographers ready to capture significant moments, and anything that catches our eye is captured in images that we can hold in our hands. Compiled here are some of the most significant moments in art history, juxtaposed with photographs displaying contemporary Philippine fashion in tribute of great works of art. What artists have never failed to remind us is reiterated here: Beauty is short-lived, but we have ways to capture and immortalize it. We better put those into good use.
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RENAISSANCE
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A man paints with
his brains and not with his hands. -Michelangelo Sophisticated consciousness of and meticulous attention to lighting, linear and atmospheric perspective, anatomy, foreshortening and characterization, application of new techniques, sensibilities and scientific knowledge -the Renaissance was at the same time a rebirth of traditions past, and the dawn of a new era in art.
(L-R) Sandro Botticelli, Portrait of a Young Woman,1480-85. Sandro Botticelli, La Primavera, 1482. Jan Van Eyck, Portrait of a Man in a Turban, 1433.
i do as i can. -JAN VAN EYCK Jan Van Eyck is known as the father of oil painting because of his early mastery of the technique. Dress by Jerome Salaya Ang.
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Dress by DIANNE MANZANO
Vitruvius described the human figure as the the principal source of proportion among the Classical orders of architecture.
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Other artists had attempted to depict this concept, with less success. Leonardo’s drawing is traditionally named in honor of the architect.
(Top-Bottom) Sandro Botticelli, Portrait of a Young Man, 1482-83. Leonardo Da Vinci, Mona Lisa, 1503-19. Leonardo Da Vinci, Vitruvian Man, 1487.
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(L-R) El Greco, A Lady in a Fur Wrap, 1577. Michelangelo Buonarotti, The Creation of Adam, 1511.
Where the spirit does not work with the hand,
there is no art.
- LEONARDO DA VINCI
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baroque
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Textures conscientious, thinking; beautiful detail; Baroque art was in many ways an effect of religious requirement, though not explicitly. It celebrated form, structure, and action, creating wonderful depictions of scenes with a stunning play of light and shadow, a mélange of icons, and satisfaction of religious requirement.
“Painting is the grandchild of nature. It is related to God.” -REMBRANDT VAN RIJN
(L-R) Rembrandt van Rijn, Portrait of jan Six, 1654. Caravaggio, The Calling of St. Matthew, 1599-1600. The Milkmaid, Jonnes Vermeer, 1658. Peter Paul Rubens, Self-Portrait with Isabella Brant, 1610. Rembrandt van Rijn, The Storm of the Seas of Galilee, 1633. Rembrandt, Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Carvaggio, Rest on the Flight to Egypt, 1610.
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“Without atmosphere a painting is nothing.” -REMBRANDT VAN RIJN
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Opposite Page: (Clockwise from top) Neckpiece by LOR-ANN MORALES, Lace skirt by JOT LOSA. Blazer and scarf, model’s own. Studded blazer by RAXENNE MANIQUIZ, Faux fur skirt by DIANNE MANZANO. Black jacket with studded sleeves by KENNETH CHUA, Skirt by LOR-ANN MORALES. Black blazer and white scarf, model’s own. White structure dress with black cap sleeves, by KENNETH CHUA.
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This page: (Clockwise from top) Beige structured top, white dress with pattern (worn underneath), heeless shoes (shown in the painting), by KERMIT TESORO. Brocade jacket by JOT LOSA. Black studded jacket by KENNETH CHUA, Faux fur dress with beading by MARK BUENAOBRA.
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rococo
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“The Empress Maria was a very handsome woman; her plumpness kept her fresh.” -Elisabeth Vigée Le Brun,
Ornate, decorative: Rococo revered the grace of the form of shells as motifs and was used for architecture, reliefs, and wall paintings. The playful character of Rococo is evident in the likewise occasionally naughty behavior of subjects, delicate colors recurring curving forms, and decorative elements sprawled across the space.
(L-R) Elisabeth Vigée Le Brun, Self-Portrait in a Straw Hat, 1782. Elisabeth Vigée Le Brun, Marie Antoinette, 1783. Jean-Honoré Fragonard, The Love Letter, 1770. Jean-Honoré Fragonard, The Swing, 1767.
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neo-classicism
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“In the arts, The way in which an idea is rendered, and the manner in which it is expressed,
ARE much more important
than the idea itself.� -JACQUES LOUIS DAVID
The neo-classicists paid tribute to canons of old and fostered an attitude of synthesizing tradition anew without relying on old ideas to reproduce in meaningless numbers.
Obedience to canons was held in higher regard
than self-expression, popularity and novelty, and blinding inspiration.
(L-R) Jaques Louis David, Death of Marat, 1703, Napoleon in His Study, 1818, Paris and Helen,1788. Opposite Page: Ensemble by KERMIT TESORO.
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romanticism
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“Nature is a dictionary; one draws words from it.” -JACQUES LOUIS DAVID Reacting to the rationalization of nature through science, the Romantics paid keen attention to the beauty of nature when untamed. The artists freely handled paint, liberated from the neoclassic obedience to canons. Strong emotions are also freely exhibited, considered more of a valid source of an aesthetic experience during this time than ever before. (Clockwise from bottom) The Raft of Medusa, Theodore Gericault, 1819. Eugène Delacroix, vGreece on the Ruins of Missolonghi 1826, Orphan Girl at the Cemetery, 1823.
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impressionism
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“It is not enough
to know your craft.
you have to have feeling. Science is all very well, but for us
imagination is worth far more.” - EDOUARD MANET
Mere sketches, or legitimate works of art? This movement, suggesting a nearly obsessive attention to nature and how light behaves, raised a lot of eyebrows. However, these works definitely gave us a fonder appreciation of our daily lives and the sad, but nevertheless beautiful transience of the things around us, with its artists immersed in the moments they are trying to capture.
(L-R) Edgar Degas, Woman in the Bath, 1886. Madame Monet in a Japanese Costume, 1875. Edouard Manet, Young Flautists, 1886. Opposite Page: Velvet jacket with rope detail, photographer’s own. Harem pants by KENNETH CHUA.
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art nouveau
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line determinative, line emphatic, line delicate, line expressive, line controlling and uniting. -walter crane Lines that flow across the space sends the eye on a roller coaster ride, with the natural grace of flowers and plants as rails meeting at multiple pitstops. This art movement sprawled itself across surfaces branching from a graphic design by Alphonse Mucha into ornaments that graced structures inside and out.
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(L-R) Alphonse Mucha: Flower, 1897. Fruit,1897, Zodiac, 1896. Dance, 1898. Reverie, 1897. On opposite page: Dress by KENNETH CHUA.
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post-impressionism
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“I dream of painting
and then I paint
-vincent van gogh
my dream.�
While the impressionists paid much attention to the overall impression that scenes in the daily lives of people leave a viewer, post-impressionists made their viewers look twice with the peculiarity of the images that they presented. They built their pictures upon keenly observed shapes, unnatural color, and with an admirable control over these elements. (L-R) Vincent Van Gogh: Self-portrait, 1889 At Eternity’s Gate, 1890 Still Life: Vase with Twelve Sunflowers, 1888. Self-portrait with a bandaged ear and pipe, 1889.
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fauvism
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“It is only after years of preparation that the young artist should touch color not color used descriptively, that is, but as a means of personal expression.� -henri matisse
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“With color, one obtains an energy that seems to stem from witchcraft.” -henri matisse
Strong, wild, and bold
were the images produced by les Fauves, or “The Wild Beasts”. Banking on the confidence brought forth by Impressionism, Fauvism pushed artistic schools of thought further despite its ephemera. Figures were reduced to their simplest and most abstract, but in violent, shocking colors.
(L-R) Andre Derain, Portrait of a Man with a Newspaper, 1911-1914. Henri Matisse, Zorah on the Terrace, 1912. Opposite Page: Henri Matisse, Music, 1910.
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(L-R) Dress by KENNETH CHUA. Oversized jacket by RUSSELL VILLAFUERTE Dress with white lining by RUSSELL VILLAFUERTE One sided dress with ruffle detail by RUSSELL VILLAFUERTE Head dress worn as neckpiece and harem pants by KENNETH CHUA.
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expressionism
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“for i have represented them, i have taken their place and put on their semblance through my visions. it is the psyche which speaks.” -oskar kokoschka Physical reality is given up for life’s meaning and the human emotional experience in expressioni works. The world is skewed and distorted to evoke
emotions, moods and ideas,
as presented in images that viewed these projections in subjective perspectives.
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(Clockwise from top) By Egon Schiele Two Women, 1915 Nude, 1912 The Artist’s Wife, 1915 Self-portrait,1912 Nude Girl With Crossed Arms, 1910 Self-portrait, 1912
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M S I B U C
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“Truth is beyond any realism, and the appearance of things
should not be confused
with their essence.� -juan gris
The essence of things was what mattered to the Cubists. Subjects were presented from different perspectives on a single surface: the parts that compose an object are broken down and interspersed with one another, creating a visual controversy of depth and presents a resulting shallow space from the interpenetration of backgrounds and object planes. On opposte page: Beige dress by KENNETH CHUA
Portrait of Picasso, 1912. Georges Braque, Woman with a Guitar, 1913
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DE Stijl
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“Art is only a substitute while the beauty of life
is still deficient.
It will disappear in
proportions as life gains equilibrium.� -juan gris
The essence of things was what mattered to the Cubists. Subjects were presented from different perspectives on a single surface: the parts that compose an object are broken down and interspersed with one another, creating a visual controversy of depth and presents a resulting shallow space from the interpenetration of backgrounds and object planes. All designs by JEROME SALAYA ANG All photographs were inspired by works of Piet Mondrian
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“All painting the painting of the past as well as of the present- shows us that its essential plastic means we are only line and color.� -piet mondrian
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surrealism
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“Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision.� -salvador dali
Images that exceeded reality,
dabbled in dreams, and accepted the subconscious mind as a valid source of reason and of truth -- Surrealist works were mostly abstract and psychological, but nonetheless depictive. Ordinary objects in surreal worlds lost their normal significance to a more relevant cause and evoked empathy from its viewer. On opposite page: Ensemble by KERMIT TESORO The Persistence of Memory, 1931.
Leda Atomica, 1949. Soft Construction with Boiled Beans (Premonition of Civil War), 1936. Christ of Saint John of the Cross, 1951. The Disintegration of the Persistence of Memory, 1952-54.
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I paint my own reality. The only thing I know is that
I paint because I need to, and I paint whatever passes through my head without any other consideration. -frida kahlo On opposite page: Dress with crystal sleeves by KENNETH CHUA. The Two Fridas 1939. Self-Portrait with Necklace of Thorns, 1940.Self-Portraitas a Tehuana (Diego in My Thoughts), 1943.
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abstract expressionism 84 Chapter1.indd 84-85
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“The need is for felt experience –
intense, immediate,
direct, subtle, unified, warm, vivid, Displaying emotional intensity,
rhythmic.”
-Robert Motherwell while rejecting most, if any, recognizable figures, Abstract Expressionism caught on the seeming spontaneity of Surrealism and presented through dabs or splatters of paint, expressive shapes and colors, the artist’s state of mind. On opposite page: Jackson Pollock, No.5, 1948.
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The painting has a life of its own.
I try to let it
come through.
- jackson pollock
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POP ART!
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Popular; Transient; Expendable;
Low Cost; Mass Produced;
Young; Witty; Sexy; Gimmicky;
Glamorous; and Big Business. -richard hamilton
Art costs little, is reproduced aplenty, and is commodified. Everyone is aware of an image, sees it everywhere, yet desires it at a same increasing rate when taken out of its familiar context presented with the right materials and found objects, and set against an intelligently calculated amount of irony. Popular art either pokes fun at the quirks of a particular culture or abuses celebrity and earns cash for it.
Andy warhol, Turquoise Marilyn 1962.
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Andy warhol, Turquoise Marilyn 1964.
My idea of a good picture is one that’s in focus and of a famous person. -richard hamilton
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the team
make-up artists:
stylist: mark buenaobra
alex justimbaste
Mark Buenaobra always looks sharp, always. He deserves that redundancy. He gets a kick out of Van Gogh’s art, citing the peculiar quality of his works as the source of its appeal. Mark’s love of people sustains his drive in what he does, and has helped him develop his discerning taste in style. His styling certainly brings the masterpiece out of people -- obras maestros.
Alex Justimbaste loves Alexander McQueen’s attitude towards his work and the masterpieces that come as result. Alex’s work is likewise magical, and his masterful handling of make-up has satisfied many a client in fulfillment of their specific needs. His creations are strong, sensual and fragile, bringing the emotional power out of his subjects.
glacey madel lois Glacey Madel Loiz digs Van Gogh. Of her favorite painting, “The Starry Night” she says, “I love he was able to exude the beauty of the night sky amidst the darkness through the vivid colors that he used with his signature brush strokes.” She channels this inspiration into make-up, which she does so awesomely well. And she also sings. We’re guessing Van Gogh would have thought twice about cutting his ear if he’d gotten a chance to listen to her starry, starry voice.
mycke arcano Mycke Arcano enjoys the challenges that hairstyling brings. He always makes it a point to mix contemporary appeal with his client’s needs. He knows how gravity’s a dark villain when it comes to hairstyling, and he says that he’s inspired by Salvador Dali’s painting, “The Persistence of Memory”. He likes how the stillness and tenacity of time was portrayed against the brevity of life, and it can be compared with how his pieces always stand strong and fierce. Gravity, bring it on.
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ALVIN ADRIANO SARAH CRUZ ASIDO JENNIFER BALAGSA MARK BUENOBRA MARY ANN BUENAOBRA MIAH LEGASPI
JADE GERONA DIANNE MANZANO LOR-ANN MORALES JODILLY PENDRE DIANNE CAMILLE REYES RACHEL TAN
SHOOT ASSISTANTS:
hair stylist:
100
models:
alvin adriano jennifer balagsa mark buenaobra mary ann buenaobra zyrael fortes jay alexander santos
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f 11, 1/125, ISO 100
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