THERE used to be a wide gap between art and wealth, at least in the Philippines.
During my youth, artists like painters were considered as dreamers who were not concerned with making money and only in pursuing the perfect interpretation of beauty on canvas.
The market for artworks, which should be rewarding the artists, was very small then. Many painters were limited to the galleries in Ermita. It was then unusual, even today, to see ambulant vendors carrying paintings.
Nevertheless, the current situation is vastly different, and it’s because of a pleasant irony: economic growth, which creates wealth, that has made art a profitable field and artwork a prized commodity, not only in the Philippines, but elsewhere in the world.
We may still be far from reaching our goal of an inclusive growth, under which the majority of Filipinos benefit from economic progress, but growth has at least begun to benefit artists. Growth is good for the arts.
Filipinos are among the most sought-after workers abroad not only because of their fluency in English and work ethic, but also for their artistic talents. During the early 1980s, for example, the singers and musicians that supported the emerging tourism industry in the Northern Mariana Islands were all Filipinos, except for a few natives who usually performed vernacular songs and dances.
Filipinos have developed their artistic skills through the centuries, helped in part by their exposure to Western influences. University of the Philippines Prof. Eloisa May Hernandez, in an article titled “The Spanish Colonial Tradition in Philippine Visual Arts,” which was published online by the National Commission for Culture and the Arts (NCCA), named Juan Luna and Felix Hidalgo as the first international Filipino artists who won in the 1884 Madrid Exposition. Hernandez said Luna’s Spoliarium won the gold medal.
However, he was not awarded the Medal of Excellence, the top award for the competition, because he was a Filipino.
Hernandez’s article also showed the relationship between economic growth and wealth and the arts. She wrote: “In the early 19th century, the rise of the ilustrados saw a rise in the art of portraiture. The need to adorn their newly constructed bahay-na-bato and the want to document their newfound wealth and social status, the ilustrados commissioned painters to make portraits of themselves.”
Ilustrados comprise the elite middle class in the Filipinos during the Spanish colonial period.
Another online article, titled “Philippine Contemporary Art Thrives Despite Financial Crisis,” published by the government-led trade platform Manila FAME, cited the high demand for works by Filipino artists in Singapore art galleries, with some artworks even breaking records at Sotheby’s auctions.
In the article, Manuel Duldulao, founding chairman of the Exhibition Center for Contemporary Art, traced the salability of Filipino paintings to their portrayal of distinct Philippine themes like fiestas, landscapes, landmarks and tourist spots, which no other country has.
Exports of Philippine artworks still account for a meager share of local products shipped abroad. Electronic products like semiconductors still account for a major chunk of Philippine exports.
In the domestic market, the continuing growth of the economy, which translates to a rising number of consumers with higher purchasing power, also benefit artists.
When the rich get richer, the artists benefit. Buyers of high-end condominium units, for example, can be expected to buy classy paintings to adorn their walls.
Developers of towering office buildings will be remiss if they fail to hang artworks on the walls of the
lavish lobbies.
One advantage of artworks over electronics and other manufactured products is the high local content. The paint and brushes that artists use may be imported, but represent only a small share of the production cost of a painting. The artist’s skill comprises the bulk of the cost. Because of this, I believe it is fair to assume that the total proceeds of the sale of a painting include a large net value, compared to electronic products, which are made mostly of imported materials.
Paintings and other artworks are now also considered as alternative investments.
It’s good the government, through the Manila FAME International and other agencies, is helping develop the local and overseas markets for Filipino artists through exhibitions.
This effort should also increase the number of Filipino artists in the market, which currently include National Artist awardees Jose Joya and Federico Alcuaz, Ramon Orlina, Angelito Antonio, Norma Belliza, Onib Olmedo, Juvenal Sanso and Malang, among many, many others.
What we’re seeing now is the marriage between art and wealth. No more stories about artists going hungry because they could not sell their craft.
In the future, I would like the Philippines to be famous not only for its beaches, festivals and hard-working people, but also for its artists.
For comments, e-mail mbv.secretariat@gmail.com or visit www.mannyvillar.com.ph.