PART 17 ANTONIO GARCIA Y LLAMAS Portrait of the Artist as Bon Vivant
PART 17 SOMETHING INTERESTING ABOUT THE LLAMAS FAMILY OF THE PHILIPPINES
By: Deo Antonio D. Llamas
ANTONIO GARCIA Y LLAMAS Portrait of the Artist as Bon Vivant
Antonio Garcia y Llamas Story is one of the highlight of my research and Iam glad to share this article to all. This is an excerpt from Metro Society and Palatial homes and Mansion in the Philippines website:
Antonio Garcia was one of the greatest Filipino artists of 20th century. He was born and raised in Metro Manila and studied in Spain and Italy.
Family patriarch Don Adolfo Garcia's legendary Parañaque beach house Only Malacañang Palace was said to have been more opulent!
The Spanish mestizo Garcia clan was one of the richest in the Philippines. He also belonged to the Spanish mestizo Llamas clan of Intramuros. Many members of the Llamas clan were among the civilians killed during the Battle of Manila of the Second World War.
Cousin Eduardo "Eddie" Llamas and his family died during the battle. (pictures can not be downloaded)
Antonio Garcia would later join the Faculty of Fine Arts at UST after the war.
During this period, he painted the murals of the new Santo Domingo Church
Don Antonio Garcia (center) with Doña Toto Lopez-Locsin (right) and former First Lady Luz Magsaysay (left)
A true Gentleman of the Old World and alta sociedad figure in Manila, Don Antonio became a leading portrait artist to the rich and famous.
Don Antonio's cousin Amparo "Amparito" Llamas-Lhuillier She's the mother of fashion designer Monique Llamas Lhuillier!
His first cousin Cristina Castañer
Iconic beauty Toto Lopez-Locsin!
Heiress Pacita Paterno Madrigal-Gonzalez
Pilar Tuason-Manzano
Antonio Garcia was awarded the prestigious Pamana ng Pilipino Award posthumously in 2000! What a great honour!
Portrait of the Artist as Bon Vivant
Antonio Garcia Llamas was one of the best-known portrait artists of postwar Philippine high society. Born in the Philippines to Spanish parents, he studied in Spain and Italy, returning to the Philippines in the peacetime years before WWII.
The Garcias were one of the leading families in the islands at the time -- the family residence on the beach in Parañaque was said to be second only to Malacañang Palace in opulence. Extant pictures show a large, European-inspired residence, the back of which had expansive space for large receptions, and a swimming pool. Afraid that their home might be appropriated by the Japanese military forces, patriarch Adolfo Garcia sold the property towards the end of WWII for the princely sum of P300,000 paid for in the soon worthless "Mickey Mouse" money. Nevertheless, the family retained enough assets, including real estate, in the postwar years.
He taught painting at the Faculty of Fine Arts of the University of Santo Tomas, receiving commissions for portraits, as well as ecclesiastical murals. Some of his best works are the murals on the ground floor of the Main Building of UST depicting the history of the Dominican Order in the Philippines, the images of the four evangelists atop the four columns of the altar of the Santo Domingo Church, and the image of San Antonio behind the choir loft on the left side of the main altar of the Sanctuario de San Antonio in Forbes Park. (Traditionally, the image of San Antonio shows him carrying the infant Jesus on his left arm -- the face of the infant Jesus was that of Antonio's baby daughter Tani, whose baptismal name is Antonia). Viviano Meer was one of Garcia Llamas' most enthusiastic collectors, together with other members of the elite.
One of Garcia Llamas' students was Juvenal Sanso, who attended evening classes at UST after graduating from the University of the Philippines. He recalls how Garcia Llamas was "courtesy personified", a true gentleman of the old school. Ramon Locsin accompanied his mother, Toto, for her portrait sessions some time later, and remembers the "old-world elegance" in his manner and demeanor. The artist lived on Escolastica, along Roxas Boulevard, not far from where the Department of Foreign Affairs building stands today, in an old house with wide capiz windows opening to a view of palm trees and Manila Bay. Ramon also remembers the endless banter, the cigarette smoke, and the friendly atmosphere of the painting sessions. A natural joker, Garcia Llamas was ever popular and the constant life of every party.
It was in this studio that Garcia Llamas immortalized the beauties of his day -- the aforementioned Rosario "Toto" Lopez Locsin, Bebe Lammoglia Virata, Pacita Madrigal Gonzalez, Vicky Abad-Santos Madrigal, former First Lady Luz Banzon Magsaysay, Vicky Quirino Delgado, Virginia Romulo, Tessie Jugo Yulo, Pil Tuason Manzano, Nati Tuason Salcedo as well as his relatives, first cousin Cristina Castañer Ponce Enrile, Amparito Llamas Lhuiller, Maritina Llamas Araneta, among many others.
The Bank of the Philippine Islands commissioned him for portraits of the bank's presidents through the years. UST also commissioned portraits of its Father Rectors. Presidential daughter Vicky Quirino also commissioned the artist to paint a portrait of the popular secretary of National Defense, Ramon Magsaysay, in the early '50s. Seeing the finished product, Magsaysay thought it "too presidential" and in deference to President Quirino, decided to keep it in storage. The portrait was brought out only when Magsaysay won the presidential elections of 1953 (defeating Quirino) -- and is probably one of the most recognizable presidential portraits today -- a tribute to the enduring popularity of the people's president, and the consummate artistry of Antonio Garcia Llamas.
Cristina Ponce Enrile recounts how Garcia Llamas was invited by Indonesian President Sukarno in the '60s to Jakarta for six months to work on several projects. According to family lore, Garcia Llamas felt slighted when, his name was not among the artists honored in the newly developed San Lorenzo village (whose streets pay tribute to artists like Luna, Amorsolo, Edades, Garcia Villa, among others). He left the country in 1967, and settled in Madrid, where he continued to paint, while participating in the activities of a theater group.
One of his last paintings was a portrait of Cristina Ponce-Enrile with her grandchildren -- set in the Makati residence of the Ponce Enriles. The portrait is uncanny in its accuracy, considering that the artist left the country long before the residence was built. Aside from these portraits, Ponce Enrile is proud owner of several other works, including her portrait, plus a large-scale depiction of oriental women titled Oriental Abundance (1960), and a small painting of a flamenco dancer, and a rare collage made in 1962. She considers her first cousin a genius, and is proud of his contributions to Philippine art.
The Commission for Overseas Filipinos honored the memory of the artist with the Pamana ng Pilipino Award given posthumously in 2000 -- an award that he shares with art luminaries like Anita Magsaysay-Ho, David Medalla, Pacita Abad, Jessica Hagedorn, among others.
An excerpts from the History of Quezon City
Perhaps the happiest event in Quezon City during Amoranto’s first year mayor was the inauguration of the new Santo Domingo Church at Quezon Boulevard Extension on Sunday morning, October 1954. The Philippines Free Press waxing ecstatic over it said: finally, after thirteen years, a new Santo Domingo Church has risen in Quezon City. The sixth of its kind since 1587, when the first Dominican Church (of wood) was constructed on the South bank of the Pasig River; the present edifice – refuted to cost three million pesos – is, perhaps, the largest church in the Philippines today.” Its tower soars to about 14 feet to the skies.
The imposing new church was blessed on the morning of October 10, 1954, with the Most holy Reverend Rufino J. Santos, Archbishop of Manila, officiating. The solemn event was attended by about 500,000 devotees, most of whom stayed in the church all day, to wait for the celebrated La Naval De Manila procession, during which the image of the lovingly revered Nuestra Señora de Santissimo Rosario was transferred from the Santissimio Rosario church in the University of Santo Tomas, to the splendid new church along Quezon Boulevard Extension in Quezon City. It had been kept with great fondness in UST after its former home; the Santo Domingo Church in Intramuros was bombed by the Japanese in December 1941.
The Sunday Times Magazine, on October 17, 1654, described the massive new Dominican shrine: “The solid looking mass of concrete cut along Spanish colonial and modern lines of the new church is completely different from the gothic lines of the old Church…Where delicate filigree works crown the latter, simple straight lines mark the roof of the former. In place of the ornate Greco – Roman windows, designed by Don Felix Rojas in 1864, the new building has long windows placed by Architect Jose Zaragosa, with an eye for effective ventilation. Where bricks and wood graced the old, mosaic stones, glass and pre – cast ornaments are used to beautify the exterior of the new. Broader, taller and longer, the new speaks of a wider – spread religious devotion and a more intensive faith in the face of war and rumors of war."
According to Father Augusto Antonio, OP one of the most dearly respected Dominicans who has been one of those directly involved in the La Naval celebrations through the years, says that only the best Filipino artists were commissioned to do the magnificent art pieces in the church. Galo Ocampo, noted painter, made the designs of the attractive stained glass windows, which were executed by Kraut Art – Glass Neon; Carlos V. Francisco, fondly called Botong, painted the eight panels under the cupola, which depicts the life of St. Dominic, founder of the Order of Preachers; while the paintings of the four evangelists, just above the Francisco murals, were done by Antonio Garcia Llamas.
The crucifixion, done in wood at the altar was made by the celebrated Pampango sculptor, Nepomuceno. And the picture of St. Dominic behind the altar is, up to this day, the largest mosaic in the Philippines.
Unknown to many, one of the most precious treasurers of the church, aside from the incalculably valuable image of the Nuestra Senora de “La Naval” and her jewels, is the rare bronze tabernacle with exquisite sculpture inside the outside, and decorated with semi – precious stones. It weighs more than a ton and was made in Spain. Archbishop Santos donated it to the Shrine.
The La Naval celebration in this new church became Quezon City’s most popular feast; recently, the Quezon City’s most popular feast; recently, the Quezon City Council adopted a resolution making the Nuestra Senora del Santissimo Rosario (Our Lady of La Naval), the patroness of Quezon City.
By: Deo Antonio D. Llamas
ANTONIO GARCIA Y LLAMAS Portrait of the Artist as Bon Vivant
Antonio Garcia y Llamas Story is one of the highlight of my research and Iam glad to share this article to all. This is an excerpt from Metro Society and Palatial homes and Mansion in the Philippines website:
Antonio Garcia was one of the greatest Filipino artists of 20th century. He was born and raised in Metro Manila and studied in Spain and Italy.
Family patriarch Don Adolfo Garcia's legendary Parañaque beach house Only Malacañang Palace was said to have been more opulent!
The Spanish mestizo Garcia clan was one of the richest in the Philippines. He also belonged to the Spanish mestizo Llamas clan of Intramuros. Many members of the Llamas clan were among the civilians killed during the Battle of Manila of the Second World War.
Cousin Eduardo "Eddie" Llamas and his family died during the battle. (pictures can not be downloaded)
Antonio Garcia would later join the Faculty of Fine Arts at UST after the war.
During this period, he painted the murals of the new Santo Domingo Church
Don Antonio Garcia (center) with Doña Toto Lopez-Locsin (right) and former First Lady Luz Magsaysay (left)
A true Gentleman of the Old World and alta sociedad figure in Manila, Don Antonio became a leading portrait artist to the rich and famous.
Don Antonio's cousin Amparo "Amparito" Llamas-Lhuillier She's the mother of fashion designer Monique Llamas Lhuillier!
His first cousin Cristina Castañer
Iconic beauty Toto Lopez-Locsin!
Heiress Pacita Paterno Madrigal-Gonzalez
Pilar Tuason-Manzano
Antonio Garcia was awarded the prestigious Pamana ng Pilipino Award posthumously in 2000! What a great honour!
Portrait of the Artist as Bon Vivant
Antonio Garcia Llamas was one of the best-known portrait artists of postwar Philippine high society. Born in the Philippines to Spanish parents, he studied in Spain and Italy, returning to the Philippines in the peacetime years before WWII.
The Garcias were one of the leading families in the islands at the time -- the family residence on the beach in Parañaque was said to be second only to Malacañang Palace in opulence. Extant pictures show a large, European-inspired residence, the back of which had expansive space for large receptions, and a swimming pool. Afraid that their home might be appropriated by the Japanese military forces, patriarch Adolfo Garcia sold the property towards the end of WWII for the princely sum of P300,000 paid for in the soon worthless "Mickey Mouse" money. Nevertheless, the family retained enough assets, including real estate, in the postwar years.
He taught painting at the Faculty of Fine Arts of the University of Santo Tomas, receiving commissions for portraits, as well as ecclesiastical murals. Some of his best works are the murals on the ground floor of the Main Building of UST depicting the history of the Dominican Order in the Philippines, the images of the four evangelists atop the four columns of the altar of the Santo Domingo Church, and the image of San Antonio behind the choir loft on the left side of the main altar of the Sanctuario de San Antonio in Forbes Park. (Traditionally, the image of San Antonio shows him carrying the infant Jesus on his left arm -- the face of the infant Jesus was that of Antonio's baby daughter Tani, whose baptismal name is Antonia). Viviano Meer was one of Garcia Llamas' most enthusiastic collectors, together with other members of the elite.
One of Garcia Llamas' students was Juvenal Sanso, who attended evening classes at UST after graduating from the University of the Philippines. He recalls how Garcia Llamas was "courtesy personified", a true gentleman of the old school. Ramon Locsin accompanied his mother, Toto, for her portrait sessions some time later, and remembers the "old-world elegance" in his manner and demeanor. The artist lived on Escolastica, along Roxas Boulevard, not far from where the Department of Foreign Affairs building stands today, in an old house with wide capiz windows opening to a view of palm trees and Manila Bay. Ramon also remembers the endless banter, the cigarette smoke, and the friendly atmosphere of the painting sessions. A natural joker, Garcia Llamas was ever popular and the constant life of every party.
It was in this studio that Garcia Llamas immortalized the beauties of his day -- the aforementioned Rosario "Toto" Lopez Locsin, Bebe Lammoglia Virata, Pacita Madrigal Gonzalez, Vicky Abad-Santos Madrigal, former First Lady Luz Banzon Magsaysay, Vicky Quirino Delgado, Virginia Romulo, Tessie Jugo Yulo, Pil Tuason Manzano, Nati Tuason Salcedo as well as his relatives, first cousin Cristina Castañer Ponce Enrile, Amparito Llamas Lhuiller, Maritina Llamas Araneta, among many others.
The Bank of the Philippine Islands commissioned him for portraits of the bank's presidents through the years. UST also commissioned portraits of its Father Rectors. Presidential daughter Vicky Quirino also commissioned the artist to paint a portrait of the popular secretary of National Defense, Ramon Magsaysay, in the early '50s. Seeing the finished product, Magsaysay thought it "too presidential" and in deference to President Quirino, decided to keep it in storage. The portrait was brought out only when Magsaysay won the presidential elections of 1953 (defeating Quirino) -- and is probably one of the most recognizable presidential portraits today -- a tribute to the enduring popularity of the people's president, and the consummate artistry of Antonio Garcia Llamas.
Cristina Ponce Enrile recounts how Garcia Llamas was invited by Indonesian President Sukarno in the '60s to Jakarta for six months to work on several projects. According to family lore, Garcia Llamas felt slighted when, his name was not among the artists honored in the newly developed San Lorenzo village (whose streets pay tribute to artists like Luna, Amorsolo, Edades, Garcia Villa, among others). He left the country in 1967, and settled in Madrid, where he continued to paint, while participating in the activities of a theater group.
One of his last paintings was a portrait of Cristina Ponce-Enrile with her grandchildren -- set in the Makati residence of the Ponce Enriles. The portrait is uncanny in its accuracy, considering that the artist left the country long before the residence was built. Aside from these portraits, Ponce Enrile is proud owner of several other works, including her portrait, plus a large-scale depiction of oriental women titled Oriental Abundance (1960), and a small painting of a flamenco dancer, and a rare collage made in 1962. She considers her first cousin a genius, and is proud of his contributions to Philippine art.
The Commission for Overseas Filipinos honored the memory of the artist with the Pamana ng Pilipino Award given posthumously in 2000 -- an award that he shares with art luminaries like Anita Magsaysay-Ho, David Medalla, Pacita Abad, Jessica Hagedorn, among others.
An excerpts from the History of Quezon City
Perhaps the happiest event in Quezon City during Amoranto’s first year mayor was the inauguration of the new Santo Domingo Church at Quezon Boulevard Extension on Sunday morning, October 1954. The Philippines Free Press waxing ecstatic over it said: finally, after thirteen years, a new Santo Domingo Church has risen in Quezon City. The sixth of its kind since 1587, when the first Dominican Church (of wood) was constructed on the South bank of the Pasig River; the present edifice – refuted to cost three million pesos – is, perhaps, the largest church in the Philippines today.” Its tower soars to about 14 feet to the skies.
The imposing new church was blessed on the morning of October 10, 1954, with the Most holy Reverend Rufino J. Santos, Archbishop of Manila, officiating. The solemn event was attended by about 500,000 devotees, most of whom stayed in the church all day, to wait for the celebrated La Naval De Manila procession, during which the image of the lovingly revered Nuestra Señora de Santissimo Rosario was transferred from the Santissimio Rosario church in the University of Santo Tomas, to the splendid new church along Quezon Boulevard Extension in Quezon City. It had been kept with great fondness in UST after its former home; the Santo Domingo Church in Intramuros was bombed by the Japanese in December 1941.
The Sunday Times Magazine, on October 17, 1654, described the massive new Dominican shrine: “The solid looking mass of concrete cut along Spanish colonial and modern lines of the new church is completely different from the gothic lines of the old Church…Where delicate filigree works crown the latter, simple straight lines mark the roof of the former. In place of the ornate Greco – Roman windows, designed by Don Felix Rojas in 1864, the new building has long windows placed by Architect Jose Zaragosa, with an eye for effective ventilation. Where bricks and wood graced the old, mosaic stones, glass and pre – cast ornaments are used to beautify the exterior of the new. Broader, taller and longer, the new speaks of a wider – spread religious devotion and a more intensive faith in the face of war and rumors of war."
According to Father Augusto Antonio, OP one of the most dearly respected Dominicans who has been one of those directly involved in the La Naval celebrations through the years, says that only the best Filipino artists were commissioned to do the magnificent art pieces in the church. Galo Ocampo, noted painter, made the designs of the attractive stained glass windows, which were executed by Kraut Art – Glass Neon; Carlos V. Francisco, fondly called Botong, painted the eight panels under the cupola, which depicts the life of St. Dominic, founder of the Order of Preachers; while the paintings of the four evangelists, just above the Francisco murals, were done by Antonio Garcia Llamas.
The crucifixion, done in wood at the altar was made by the celebrated Pampango sculptor, Nepomuceno. And the picture of St. Dominic behind the altar is, up to this day, the largest mosaic in the Philippines.
Unknown to many, one of the most precious treasurers of the church, aside from the incalculably valuable image of the Nuestra Senora de “La Naval” and her jewels, is the rare bronze tabernacle with exquisite sculpture inside the outside, and decorated with semi – precious stones. It weighs more than a ton and was made in Spain. Archbishop Santos donated it to the Shrine.
The La Naval celebration in this new church became Quezon City’s most popular feast; recently, the Quezon City’s most popular feast; recently, the Quezon City Council adopted a resolution making the Nuestra Senora del Santissimo Rosario (Our Lady of La Naval), the patroness of Quezon City.
Mga Komento
Mag-post ng isang Komento