More than 300 years ago today as I write this in July 14, the French people stormed the Bastille prison in Paris, the symbol of oppression of the moribund French monarchy, and sparked a revolution that would lead to the destruction of the Ancien Regime and the establishment of the first liberal democratic republic in the world.
In that Age of Enlightenment, people in other parts of the world followed the French example of Libertè, Egalitè, and Fraternitè and rose up against the old feudal order. The call for revolution spread through Europe and America. Even the colonized peoples longed for their own independence.
In the 19th century, young Filipino illustrados studying in Europe were exposed to the French notion of universal rights and the emerging nationalist movement. Among these Filipino intellectuals inspired by democratic ideals were artists like Juan Luna and Felix Hidalgo. The great master Luna was said to have been moved by the funeral of the French novelist Victor Hugo, which he witnessed in Paris.
But Luna was aware that the spirit of libertè is not only reflected in the political revolution. He saw it in the movement for modernism among the young avant gardes of Europe, particularly the early French impressionists, whose style he started to apply in his own work.
So the quick bold brush strokes of often unmixed colors in Luna’s later paintings of flower vendors and other ordinary scenes of contemporary life could actually mark the first attempts at modern art by a Filipino artist.
That Luna could actually have pioneered modernism in the Philippines is something that may yet rewrite local art history. And just as Bonifacio and Rizal were inspired by the writings of the French revolutionaries, Luna owed it to the French avant gardes.
To celebrate this connection between France and the Philippines in terms of our common adherence to the ideal of freedom as a political and artistic condition, the Allianz Francaise, the cultural arm of the French Embassy, and the Cebu Artists Incorporated (CAI) holds an exhibit entitled “Liberte” at the new home of the French consulate in Cebu, the La Maison Rose-The Pinkhouse Restaurant in Gorordo Avenue (the old pink mansion near the Mormon’s temple).
The exhibit showcases the works of selected artists from CAI and a few guest artists who do not belong to the group. One of the CAI artists is Remy Rault, a Parisian painter who is now based in Cebu. Remy himself has been organizing exhibits of Cebuano artists in Paris through his group and the Allianz Francaise.
In two different occasions last year, Cebuano artists were able to show their works in Paris, thanks to Remy who hand-carried them there. Remy is currently negotiating with the Philippine Embassy in France for the possibility of holding a bigger show of Cebuano art in Paris next year, hopefully with the artists in attendance.
This year’s exhibit was originally planned to have opened during the Philippine Independence Day in June 12 and end in July 14, the Bastille Day or the National Day of France. Time or the lack of it, however, did not permit it. It would have been a more symbolic gesture to highlight the fraternitè of the two countries in art and democracy.
The exhibit title “Libertè” itself becomes the theme of the works, which loosely explored it in so many different ways. Even the styles, which range from the impressionist Monet to stencil art pioneer Blek Le Rat, reflect how the local artists have absorbed the diverse influences of the French artists.
This first confluence of works under the sponsorship of the French consulate calls for reflection among the artists in Cebu. The idea of Liberte is always revolutionary and forward-looking, be it in politics or art. It seeks to demolish the mental Bastille that has been preventing artists and collectors alike from exploring new possibilities in art. That I think is the true meaning of libertè.