OLD-FASHIONED FAIRY TALE ART

By Arnaldo Bernabe Mirasol

The Little Mermaid, 2000, acrylic on paper, 10 X 12.5 inches, Mark Yap collection

Many consider my illustration for the story The Little Mermaid (above) as the best of the fairy tale illustrations I've done for the book ONCE UPON A TIME. Perhaps, Tahanan Books publisher Reni Roxas was one of them, as shown by her choice of this illustration as cover art for the book (below left).

I'm a bit baffled though, because if she found The Little Mermaid that good, why did she not bought it, and instead acquired for her collection my illustrations for the stories, The Wild Swans and The Farmer and His Wife. (below right)

The Wild Swans, 2000, acrylic on paper, 10 X 12.5 inches, Reni Roxas collection

Apart of course from the meticulous intricacy of my brushwork in The Little Mermaid, what amazed the admirers of this illustration is the composition. They were astounded by my ingenuity in coming up with that circling fishes motif in the background.






To this I say, be astounded no more, because the idea for that background wasn't original - I just copied it. I was "inspired" by David Doubilet's photo which appeared in the National Geographic Magazine, of a circling school of barracudas, at the eye or center of which is a hovering scuba diver (below left).
 

The Farmer and His Wife, 1999, acrylic on paper, 20 X 7 inches, Reni Roxas collection

Thumbelina, 2000, acrylic on paper, 10 X 12.5 inches, Mark Yap collection

The Nightingale, 2000, acrylic on paper, 10 X 12.5 inches, Dr. Manolet Delfin collection

The Emperor's New Clothes, 2000, acrylic on paper, 20 X 12.5 inches, May C. Reyes collection

Modesty aside, it would really be difficult for anyone to choose which among the illustrations in this book is best. Each one would have his own favorite. There are those who like Thumbelina, and others The Nightingale: my personal favorite though is The Emperor's New Clothes (below)





With all those praises heaped my way (which made my head swell a bit), I realized I had on hand illustrations which are all solo art exhibit material. I first showed the original illustrations to Hiraya Gallery's Didi Dee, who rejected them outright - without even saying a single word. She just smirked and shook her head. I next submitted an exhibit proposal to Araceli Salas of Gallery Genesis. I waited for weeks for news about my exhibit proposal. Nothing came. She didn't even deign to call or sent me a letter of rejection. But when I showed the illustrations to Charrie Elinzano of the Crucible Gallery, I detected a ray of hope. I felt at once that she was impressed by the artworks. She said that she'll hand over my exhibit proposal to Crucible President Sari Ortiga for his comment and approval. A few days later, Sari called to tell me that my exhibit was on. The opening was set for September 8, 2001.





















I chose Old-Fashioned Fairy Tale Art as title of my show. It was most apt because I wanted to emphasize the difference between my illustrations and the illustrations by other Filipino picture book artists at the time. Where they tend to draw modern cartoony illustrations, I patterned mine after those made by illustrators who did "classically realistic" illustrations. Gennady Spirin was a big influence. His illustrations which are mostly of earth colors impelled me to change my palette and adopt his. (below right, an illustration by Spirin)

Thumbelina by Gennady Spirin

The opening of my solo show (opening day photos below) can be described as very soft. Why soft? Well, that's because I plunged with my eyes close and with empty pockets into this solo show at the Crucible Gallery, with the result that I wasn't able to serve any refreshments to my guests. Although there was also no ribbon-cutting ceremony, I had a guest-of-honor of sorts, Ray Espinosa. He was a classmate at UST High School, batch '73. A very brilliant guy, who took up law at the Ateneo, he topped the 1982 bar exams, and is now one of Manny Pangilinan's most trusted executives.

That's myself in light blue long-sleeved shirt talking with Ray Espinosa

In this photo from left, Oca Magos, myself, and Ray Espinosa

In this photo from left, my nephew Chris San Agustin, my sons Bahgee and Kai, and Chris' elder brother Einar.

In this photo from left, front row, Oca Magos, Isko dela Cruz, and Jerry Dean

Myself (at extreme right) talking with Isko dela Cruz

Don't let the dismal atmosphere of the opening fool you, because even though we had nothing to munch in-between conversations, the red dots plastered on the painting tags, were more than enough to enliven my night. Of the eleven illustrations on show, nine were sold. Ray, who's into art collecting, wanted to add the illustration Thumbelina to his collection - but it was one of those reserved on the first day, and subsequently sold to Mark Yap (who also bought The Little Mermaid).

Although the first day sales was something to be proud of, still, I was embarrassed that I wasn't able to serve refreshment to my guests. So I told my close friends that I'll make it up to them after I got my check. I promised to treat them to lunch, supper, or whatever. I treated Oca Magos to lunch at Busog, and Isko dela Cruz to supper at Sun Wah. While I invited Buds Convocar, Jerry Dean, and Bert Falsis to a night out. But Bert couldn't make it that time because he was indisposed. That's why it was only Buds, Jerry, and me who went to Cubao for a "good time". Buds proposed that we go to Takuza Resto-Bar. The very name of the joint was enough to pique our curiosity. So we went there. Was it fun? - you may ask. I won't tell now. That would be another story altogether.

(Above, the launch and book signing for ONCE UPON A TIME prior to the opening of my solo show)