One visit to an art fair or auction would be enough to show you how incredibly expensive or valuable art can be. Who can forget Jose Joya's 1959 abstract work that sold for more than P112 million at the Leon Gallery auction in March? Or the Fernando Zobel masterpiece titled
It gives us a glimpse into BPI's massive art collection.
A HISTORY OF ART
It all started in the 1970s when national economic policies paved the way for banks like the Bank of the Philippine Islands (BPI) the first and oldest private bank in the country to forge partnerships, set up mergers, acquire regional banks, and explore other avenues for expansion. This led to the increased demand and production of art, which not only made for nice additions to the otherwise bare walls of newly leased spaces but also figured as assets held by financial institutions. Along with these business power moves, the bank also acquired art holdings such as Citytrust, Far East Bank and Trust Company, and Prudential Bank.
By the 1980s, the Bank of the Philippine Islands moved to its present head office on the corner of Paseo de Roxas. It was the perfect opportunity for the bank's top management to purchase art that would grace the executive offices on the building's 19th and 20th floors. This included works by Juan Luna, Felix Resurrecion Hidalgo, and Fernando Amorsolo.
na Kahoy by AJ Garnet, Lipat-Bahay by Joselito Barcelona, and Bahay sa Taal by Tony Pepito
Market Vendor by Ting Ping Lay
In 1995, one of BPI's properties, FEB Center in Makati (now the BPI Buendia Center), began an art acquisition program that gathered over 600 works of art over a period of five years. Six artists including Napoleon Abueva, Renato Rocha, Julie Lluch, Impy Pilapil, Benedicto Cabrera, and Lilibeth Cordova-
BPI had established itself as a corporate art patron; and by 2001, it had to cut down on its art holdings, which was by then over 2,000 pieces. Selected works were sold first to bank officers and employees, then to the public at low prices. The collection was pared down to a manageable collection of 800 pieces, then again grew to the 900-piece BPI Art Collection that it is today.
BPI Foundation's Juan Luna collection
Foreground: Magkaisa III - 08 by Ramon Orlina; background: 18th-century prints
GOING BEYOND ACQUIRING ART
"BPI sees art, culture, and heritage as assets and treasures," explains Maricris San Diego, BPI Foundation Executive Director, in an interview with SPOT.ph. BPI Foundation, BPIs social development arm which was founded in 1978, is tasked to "[promote] Filipino art, culture, and historical consciousness."
Parallel to this mission and to celebrate its 40th founding anniversary, the foundation launched a two-part exhibit in partnership with Ayala Museum called the OBRA Art Series. It presents selected works from BPIs collection through two shows: Pagpugay, which ran from March 6 to 25 at the museum's
Sculptures: Limang Batang Namamangka by Luis Ac-ac, Bunong Braso by Bert Edlagan
Pista sa San Dionisio by Antonio Austria, Cityscape by Alfredo Liongoren
The development of the BPI Art Collection is largely a reflection of the growth and progress of the Bank. The paintings and sculptures that adorn the walls and corners of BPI offices and branches not only symbolize the bank's rich history, but also express our changing times, and the Filipino people's lives, dreams, and values that are truly unique and dear to our culture, she continues.
True enough, Pagpugay focused on the Filipino values of family and community, while Historia highlights patriotism and Philippine history through a lineup of works by both Filipino greats and up-and-coming local artists. Of the two, it is the latter that hosts a larger chunk of BPI's collection.
With OBRA as one of the cornerstones of our
Isole Filippine (1785) by Antonio Zatta and Sons
Ville de Manille by J.V. Schley
TRACING PHILIPPINE HISTORY
Historia puts Philippine history side by side with various movements in Philippine art. It starts with the 18th- and 19th-century prints, which documented the Filipinos' way of life during the Spanish colonial period as well as Philippine maps made by European cartographers. Isole Filippine (1785) by Antonio Zatta and Sons and Archipel Des Indes Orientales (1850) by Didier Robert De Vaugondy show the early definitions of Philippines marine territory.
Grand Venice Canal by Juan Luna
There are separate sections for respected Filipino artists Juan Luna and Fernando Amorsolo, with the latter having a restriction against picture-taking. Luna's works give us insight into the mind, style, and sensibility of the Filipino artist and revolutionary who was living in Europe at the end of the 19th century, while Amorsolos pieces showcase life in the countryside where maidens gather under verdant trees and farmers are hard at work in tilling their land.
Shrine by the Roadside and Country Scene by the Road
Moriones by Claude Tayag and Mga Magsasaka by Norma Belleza
The rest of the exhibit displays works from Philippine contemporary artists, such as Ramon Orlina, Jaime De Guzman, Claude Tayag, and Norma Belleza. The differences in style and themes in these modern pieces prove the Philippines ever-evolving art movement.
STEPPING INTO THE FUTURE WITH BPI FOUNDATION
When asked what's next for the BPI Art Collection, San Diego revealed that the foundation is now in partnership with the Ayala Museum in cataloguing and restoring the rest of the works to ensure their preservation and conservation for future generations.
"The idea was not only to
For a bank bearing the name Philippine Islands, it's only expected that Filipino pride be instilled by the financial institution in every way possible. And BPI Foundation imbibes this mission through its commitment to encourage, acquire, and promote Philippine art.
Historia: Stories of Art runs until August 12 at the Ayala Museum, Makati Avenue corner De La Rosa Street, Greenbelt Park, Makati City. For more information, visit
This story originally appeared on Spot.ph.
* Minor edits have been made by the Townandcountry.ph editors.