Artist: Tabuena, Romeo Born in 1921, Iloilo City. UP Fine Arts.

Learned his craft with the AAP, at the Students Art League in New York on a grand tour of Europe, and at the Academie de la Chaumiere in Paris. Shows and exhibits in Washington D. C., New York, LA, Chicago, New Mexico, New Jersey, Sao Paolo and in known European galleries. Works featured in publications like the American Artists, Diplomat, Literary Review and the Reporter. His creative output are much in demand and paintings are in the collection of known international art connoisseurs and museums. Considered today as the most prominent living Filipino painter, acclaimed in both Europe and the Americas. Listed in Whos Who in American Art. Residing in Mexico for the past two decades with his Norwegian wife Nina.

PAINTING PRESERVATION Humidity is a great factor when in comes to your paintings condition. Do not place your artworks where there is direct sunlight. It will cause acrylic and oil paintings to dry and crack. Always keep your painting away from damp walls, molds are one of the hardest to remove and will damage the art work especially those which are painted on paper.

Lights enhance artwork's aesthetic quality, but do not place the lights near or directly over the artwork. Some lights produce small amount of fumes and dust that may change the painting's color.

Selling our private collection Ramon Estella painting Title ENCANTED FOREST 86 neo realist in oil more or less 20x24 this is rare painting call for details. The original group of the 5 Masters every collector must have. The Neo-Realists The "creation of a new reality"this was the battle cry of the original group of painters that called themselves "Neo-Realists" Hernando R. Ocampo (1911-1978), Ramon Estella (1911-1991), Vicente Manansala (1913-1981), Victor Oteyza (1913-1979), Cesar Legaspi (1917-1994) and Romeo Tabuena (born 1926). (Except for Estella, all these original members have paintings in this exhibit). The Neo-Realists (who were also called "modernists" or Philippine Art Gallery (PAG) artists because they exhibited in Lyd Arguilla's "biggest little room" on Arquiza St.) desired to look at reality "with new eyes." They soon expanded into a bigger group which included Manuel Rodriguez Sr., Nena Saguil, Anita Magsaysay-Ho, Fernando Zbel, Arturo Rogerio Luz, J. Elizalde Navarro, Jose Joya, Lee Aguinaldo and David Cortez Medalla (all of whom have works in this exhibit). To be called a "modern" or "Neo-Realist" painter then is not to re-present, depict or illustrate scenes of modern life. It is to present reality in a new way, to create it anew in such a way that the lived presence of the artist is felt in the painting itself. There is no other access to the painter except through his painting which is his expression or text. Paradoxically again, this vivid presence is more strongly felt in modern nonfigurative or abstract painting. Nowhere are the traces of the artist more palpable than in the gestures with which he applies paint on the canvas-with a brush, a knife, a syringe, even with his bare hands. One can follow with the eye the movement and the rhythm of the artist's hands and body. It is not then surprising that H. R. Ocampo should speak of his paintings as "visual melodies" or that Lee Aguinaldo's Purple Zing on Green (1962) and Explosion No. 141 (1957) can be enjoyed as visual improvisations of jazz, perhaps even intimate the "music of the spheres." Indeed, all modern paintings (both figurative and nonfigurative,

representational and nonrepresentational) are abstract in the sense that they do not depict real objects in the world. In a more positive sense, they are abstract in that they draw out what is essential in a modern paintingthe lived relationship or link of the painting to the painter's subjectivity which is expressed in painterly gestures and expressions. They present and pardon the pungiftus, with the "presence of an absence" of the artist, to speak like Gabriel Marcel.

Abstract painting by Boy Go using bright and beautiful colors and shapes.