Edgardo Lantin

Edgardo Lantin: Master of Time

Text by Hannah Jo Uy

Edgardo Lantin is a Renaissance man in modern times. In his work, we see the tenets of the celebrated golden age of art. His style is a revival of the principles of the Renaissance, evident in his subjects created with a genuine knowledge of the body. His combination of anatomy and expression glorifies the union of science and art. Edgardo’s style is characteristic of the period by reflecting elements of depth, balance and proportion, in his beautiful portrayal of the human subject. 

The art of the portrait is an underrated genre within the visual arts. Despite the fact that for the most part commissioned portraiture was the platform that brought the world out of medieval art into an age of artistic flourishing in Florence, Italy, the portrait, formerly the artistic lifeline of the time has been sidetracked for more avant-garde pursuits. However, the portrait remains a classic integral part of the art community. From memorials of historical monarchs to personal family heirloom, the portrait waits patiently by the sidelines humbly waiting for the recognition that it is due. No one is better suited to resurrect the grandeur of the art of portraiture than Edgardo Lantin.

Divided between two continents, Edgardo shuffles between the Philippines and Canada. His time is split in such a way that allows him to spend January to April in Vancouver with his family, and the rest of the year in his motherland. Migrating from Manila in 1981, Edgardo moved to Canada soon after finishing his studies in University of Santo Tomas where he graduated with a degree in Advertising from the College of Fine Arts. He was trained under the likes of Bonifacio Cristobal, Mario Parial and Angelito Antonio.

It was not long after moving to Vancouver that Edgardo met Sofronio Ylanan Mendoza who became his mentor. Despite what Edgardo considers a late start, it was in this time that he had decided to finally take painting seriously, realizing that his happiness lies within the canvas. With a renewed sense of purpose, determined to push his boundaries and refine his proficiency, he went to work. “I had to sharpen my skill,” says Edgardo,” I had to make a body of work, a portfolio so I can show people, this is what I do, this is my expertise.”

Edgardo went in pursuit of excellence, diligently studying for one year in New York after a scholarship grant from the Art Students League of New York. In this time, he studied drawing under Michael Burban, painting under Harvey Dinnerstein and even going on to train on Sculptural Anatomy under Elliot Goldfinger.  “ The masters said that if you want your painting to be powerful and lifelike, you have to study form,” says Edgardo,” because you’re not only painting the skin, you’re also painting the muscle and structure inside the skeleton. Kaya makikita mo sa painting nila, buhay at malakas ang dating. Parang bababa sa canvas para makipagusap sayo.”

In this time Edgardo studied cadavers, muscles, skeletal systems and the anatomy of the human figure. Such knowledge comes across in his works that is most captivating for its striking realism. The lifelike quality in the portraits of Edgardo is what is most arresting about his works. There is a certain movement to his piece, allowing us to be privy to an intimate moment in a person’s life frozen in time. “It’s a great challenge to paint portraits because it’s very hard to be considered successful. You have to capture the character, the personality, the muse and the spirit. That is what’s important.”

His paintings exude a sense of authenticity that captivates the viewer, forcing a contemplation of reality. His frame does not merely border a painting, but rather confines a soul in a moment in time, a peek into the past, an immortalized image that will forever be as beautiful, youthful and powerful as they stand. “If you’re painting, you’re a human being painting another human being. You have to study the human form to justify it.” 

Indeed it is this sincerity and dedication to his craft that puts Edgardo ahead. With every commissioned work, he pours his heart and soul, getting to know his subject, studying them in their natural home environment in order to gather an idea for the composition of their portrait, making something that can unequivocally capture their being. In the course of his research, Edgardo often takes pictures, however he is quick to point out that pictures can never be the basis of his works. “ I was trained to paint from life so I can give the depth. Photography is only a tool to register character and details, but actually when you’re painting, you’re not thinking about that. You’re thinking of the front and back of the person. My technique is multi-classical, there is an over painting. You know alla prima? You finish it in one sitting. But these studio works, you have to build up the paint underneath so you can build the character.”

Edgardo Lantin’s most recent exhibit entitled Portraying Luminescence: The Art of Edgardo Lantin was unveiled at the Artist’s Space, Ayala Museum. Featuring a total of 21 works of oil paintings of various sizes, his latest collection displays his mastery of the brush and his expert use of oil’s luminescent qualities. He favors oil not only for its transparency, but also its ability to provide paintings not only with a certain three dimensional quality. Unlike other mediums, oil absorbs light in a more impressive manner, manifesting itself as opaque in the lighted areas and semi opaque in the shadows. 

Edgardo Lantin is a master of time, finding the answer to immortality through the brush. With his art he memorializes not only his subjects, but also most especially his unmatched talent for the portrait. “I like painting human beings, faces, livelihood, showing their struggle in life. Painting is also a struggle and you relate to people. Because, life is a struggle, if there’s no struggle you might as well die.”

For more information visit www.edgardolantin.com or facebook.com/edlantin.