Outdoor Painting The clarity of this art's light is as much a reflection of Cebu's distinct rural atmosphere as it is an acknowledgment of Abellana's brilliance as a natural observer. He observes the people outdoor, what they're doing, and starts to create this masterpiece.Outdoor Painting Martino Abellana's landscapes have a distinct impressionistic style. This is distilled through the clarity of brilliant tropical sunlight, which can only be attributed to Abellana's inculcation of Amorsolo's landscapes. Abellana, on the other hand, prefers a clearer depiction of a bright morning or mid-afternoon sunlight, with a preference for brilliant blues and bleached whites, as opposed to Amorsolo's sunset-tinged yellows and oranges. The clarity of this light is as much a reflection of Cebu's distinct rural atmosphere as it is an acknowledgement of Abellana's brilliance as a natural observer.

Result #1

Abellana's paintings have the sleek grace of a contemporary brand of European art: perfect, flat and complete.

Result #2

Abellana's works are the result of a transcendence of his own craft. His world of fierce verdure is definitely of the West: his landscapes are a single, solitary struggle for the existence of being. His gesture, for him, is one of solitude; his occupation is only with creating a distinct landscape of solitude.Abellana's works, in their purity, their clarity, express a wish for the image of the sun to remain unlimbed, a desire that is linked to the elements of nature which he creates in a unique way.

Result #3

Outdoor Painting The clarity of this art's light is as much a reflection of Cebu's distinct rural atmosphere as it is an acknowledgment of Abellana's brilliance as a natural observer. He observes the people outdoor, what they're doing, and starts to create this masterpiece.Outdoor Painting Martino Abellana's landscapes have a distinct impressionistic style. This is distilled through the clarity of brilliant tropical sunlight, which can only be attributed to Abellana's inculcation of Amorsolo's landscapes. Abellana, on the other hand, prefers a clearer depiction of a bright morning or mid-afternoon sunlight, with a preference for brilliant blues and bleached whites, as opposed to Amorsolo's sunset-tinged yellows and oranges. The clarity of this light is as much a reflection of Cebu's distinct rural atmosphere as it is an acknowledgement of Abellana's brilliance as a natural observer.Abellana's landscape paintings are his most unusual to date. These landscapes are not so much descriptive of the participants' behavior as detailed documentation of the circumstances of their birth, life, and death. They are also not so much observational as they are a description of nature. The taut and sculptural composition of these works, as well as the title of the show, La Natura e luna (The natural and the celestial, 1992), establish Abellanas own ability to manipulate light and space. The sudden movement of the viewer's gaze and the contrast of blue and green fill a striking space with an unexpected colorivity, which only becomes apparent in time. The viewer realizes that the beauty of nature is not limited to its physical manifestation. Nature is a landscape of time and its signs.In times past, Abellana's art was often read as the testimony of a passionate objective observer, who detached himself from the fact of reality to concentrate on the beauty of it. This perspective has been replaced by a more traditional approach, involving a detached observation that is detached from its reality and becomes a description. This is the well-trodden territory of Romanticism, with which Abellana's work has often been compared. In this respect, his work seems to fit the Romantic ideal as well as the contemporary esthetic in Europe. However, Abellana does not fall within any single Romantic movement. Rather, he uses the analytic rather than the intuitive, according to his own rather idiosyncratic esthetic. He doesn't so much use the analytic to measure the beauty of his own work. In the artists own words, I use a model as a measure, because it is the very model of the beautiful that counts, not the beauty of the beauty that counts. Indeed, for all their apparent harmoniousness, this paintings are not the beauty of the pre-Raphaelites, but the beauty of the post-Renaissance era.

Result #4

Outdoor Painting The clarity of this art's light is as much a reflection of Cebu's distinct rural atmosphere as it is an acknowledgment of Abellana's brilliance as a natural observer. He observes the people outdoor, what they're doing, and starts to create this masterpiece.Outdoor Painting Martino Abellana's landscapes have a distinct impressionistic style. This is distilled through the clarity of brilliant tropical sunlight, which can only be attributed to Abellana's inculcation of Amorsolo's landscapes. Abellana, on the other hand, prefers a clearer depiction of a bright morning or mid-afternoon sunlight, with a preference for brilliant blues and bleached whites, as opposed to Amorsolo's sunset-tinged yellows and oranges. The clarity of this light is as much a reflection of Cebu's distinct rural atmosphere as it is an acknowledgement of Abellana's brilliance as a natural observer. Abellana's pictures reveal a pleasure in color, in light and light as seen in the fields and in the people's clothes.The overwhelming impression is of a lively, light-filled city, at once lively and large, with a variety of colors and forms.The cityscape as seen from above reflects the sun's rays, with its zigzag lines, squarish buildings, and a large sky. In the center of the city, several skyscrapers and a block of pavement mark the point of approach to the sky. The color is richly lush and bold; the drawing of the buildings is tight and orderly. The central work, a triangular construction of yellow, white, and orange, is rendered with a blunt, sharp stroke of a line. In contrast to Amorsolo's white, hard-edged lines, which appear to be at the same time edge-to-edge, the angular construction is much more light and airy; the building is the ground on which the sign is suspended.These are Abellana's works of sunshine, which has always been their strongest characteristic. This result, once again, is met with clarity and precision. Abellana is an Italian who has translated the brilliant sunlight into an almost impersonal style. His vision is a cheerful one, which is not mean or pejorative. He admires the peoples light, the light of hope and hope in general, and his sunlight is a loving one. In the years since Abellana's death, this light has become increasingly fresh and penetrable, providing Cebu with a suitable means for the contemplation of his surroundings.Abellana's most beautiful landscapes are his views from the outside of the city. The view from above is no different from the view from below, even in terms of composition; both are posed with a jazzy immediacy.

Result #5

The light pervades the gloomy countryside and overwhelms it with its brilliance. In what, of course, is an abstract but potent continuation of abstraction's inexhaustibility, a kind of romanticization of this vision of this glorious place, it becomes an act of contrast to the bleak horizon in which it is enshrined.Despite the theme of the visit, the figure in this show, considered in conjunction with the two artist's outdoor paintings, offers little sign of a man. The portrait of the protagonist of Amorsolo's masterpiece is thus an abstract vision that is actually reduced to a boy's head. But Abellana's female protagonist's hands and feet, and the hand of the black wooden apple, in which the head is inscribed, also draw on the landscape, which further reduces the figure to an abstract sign. The title is a direct allusion to the drive to create, and to create of a person, without the pain of existence.