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| | The artist Antonio Garcia Llamas, photo from Lopez Memorial Museum | |
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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 Paranaque was said to be second only to Malacanang 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.MS
by Rene Guatlo
photos by Terry Uy
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Jose Maria Tuason
Joseph Marias
The Garcia Llamas family residence in Para–aque
William Nolting
Del Saz Orozco
Carlos Villa Abrille
Portrait of Mrs. Virginia Romulo
Portrait of Mrs. Cristina Casta–er-Ponce Enrile, 1967, Manila
Portrait of Mrs. Tessie Jugo-Yulo
Portrait of Mrs. Toto Lopez-Locsin
Portrait of Mrs. Pil Tuason-Manzano,1967, Manila
Fulgencio Borromeo
John S. Hord
The Garcia Llamas family residence in Para–aque
Portrait of Mrs. Pacita Madrigal-Gonzalez
Antonio Garcia Llamas with Toto Locsin (right) and former First Lady Luz Magsaysay
Portrait of Mrs. Bebe Lammoglia-Virata
Eliseo Sendres
Santiago Freixas
Portrait of Mrs. Nati Tuason-Salcedo,1967, Manila
Portrait of Mrs. Amparito Llamas-Lhuillier, 1962, Manila
Portrait of President Ramon Magsaysay
Portrait of Mrs. Luz Banzon-Magsaysay
Pedro J. Campos
Portrait of Mrs. Bebe Lammoglia-Virata
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