Qwertyman No. 23: The Glass Sibuyas

Qwertyman for Monday, January 9, 2023

(With apologies to some of our readers who might not catch the reference to Benoit Blanc. A little Googling will help.)

THE INTERNATIONALLY famed detective Benoit Blanc knew immediately what he was up against the minute his airport limousine stopped in Manila’s infernal traffic and he found himself staring at a Burger Queen outlet with an unusual sign: “NO ONIONS TODAY.” It seemed inconceivable that Wimpies could be sold anywhere in the world without onions, but here it was, the living proof of the mystery he had been engaged to figure out. He had initially declined the assignment, being more interested in the case of a dusky Brazilian heiress who had gone missing on a yacht off St. Tropez after imbibing vodka laced with one-carat diamonds—that sort of intrigue being more down his alley—but the anonymous party who had hired him (wiring a million euros into his Bahamian account) had been persistent. 

The sudden shortage of onions in the Philippines was proving to be nothing short of a national embarrassment that was threatening the stability of the new government, and it had to be explained. Local law enforcement could not be trusted because they had long been in the pocket of the onion lobby, explained the other party (whose voice had been digitally distorted, but whose cadence of speech—punctuated with many uhms and uhhs—sounded strangely familiar to Blanc when he looked up some YouTube videos on the Philippines). Blanc didn’t bother to verify his suspicions; detectives of his caliber could not afford to be distracted by politics, which was messier but also simpler than murder, with the perpetrator often in plain sight, and where crime was rarely followed by punishment.

On the first of his three days in Manila, Blanc put on his best disguise as a French tourist in search of the best onion soup in the city. Even in the poshest hotel, all he could find was a tepid bowl of caramel-colored water with a few token rings of the spice and the grainy evidence of flavored powder. When he queried the chef about the omission, the exasperated man urged Benoit to go to the public market and see for himself what the real situation was. 

So the detective got his driver to park a block away from Farmers Market; he could go no further, because large and noisy crowds had massed around the block, bearing placards decrying the severe shortage of onions and demanding social justice. A fat lady in a polka dot dress emerged from within the market nervously clutching a big bag that was clearly marked “RICE,” but the little round bulges in the bag gave the ruse away and before she could make it to her car, the crowd pounced on her and her bag like a pack of wolves, spilling onions that rolled onto the ground, for which grandmothers and little boys socked each other to grab. Benoit gasped as he saw one onion being thrown like a football from a quarterback to a receiver, only to vanish into the heart of chaos as the latter was tackled by a chorus of slipper-shod defensive linemen. Goodness me, said Blanc, something terrible is happening in this country. If I can’t unravel the mystery of the missing onions soon, a bloody revolution could follow.

The following day, Benoit Blanc visited with Dr. Luzvimindo Bimbo, Chief Research Scientist of the Omnibus Institute, to get a more scientific handle on the problem. Dr. Bimbo flashed a series of PowerPoint slides onscreen to orient the detective. “Among 151 countries surveyed, the Philippines ranked 135th among 151 countries in onion consumption per capita, varying from an all-time low of 0.42 kilos in 1964 to 2.47 kilos in 2018, according to Helgi Analytics. Compare that to the Americans, whose consumption rose from 5.53 kilos in in 1982 to just over 9 kilos in 2018. And even that’s nothing compared to the Libyans, who couldn’t survive without consuming 30.3 kilos per person—the highest in the world. On average, people eat 6.2 kilos of onions every year.”

“Well, I’ll be,” said Blanc. “So we can safely conclude that Filipinos actually don’t consume onions as much as most other countries in the world.” 

“Certainly not,” said Dr. Bimbo. 

“And yet there’s a shortage?”

“Apparently so, as we can see from the onion riots that have now led to five deaths and countless injuries. Part of it may be artificial demand—when people hear something’s in short supply, the more they want it—but that doesn’t explain the lack of onions at Burger Queen. Even my wife can’t get onions for my bistek Tagalog!”

“Bustique Tagawhat? Never mind…. Someone’s been hoarding the commodity, for nefarious reasons we have yet to establish. Who, why, where?”

Later that day, Benoit mulled over the possibilities as he nursed his Hennessy in his hotel suite overlooking Manila Bay. Quite likely, the solution was in plain sight—like a many-layered glass onion which you still could see straight through. The plain-sight answer was profit—someone was making a killing retailing the stuff at P1,000/kilo—but it seemed too simple, too prosaic, for him to have been brought into the picture. 

But as the sun dipped into the horizon in a spectacular display of radiance, Benoit forgot all about onions as his memories drifted to another sunset he had spent with his girlfriend in the Maldives, just before he flew off to another mystery in Copenhagen, and before the tsunami struck. His eyes welled with tears at the thought—and then he realized he had his answer.

The next morning, before packing his bags for his flight home, the detective called the number of the one who had engaged him to report on his findings. Again he was answered in a raspy digital voice, but Blanc knew exactly who it was. “You already know who has all the onions, probably stockpiled in a high-security warehouse next to a top-secret manufacturing facility. Syn-Propanethial-S-oxide. Onions release this chemical irritant to produce tears. I estimate that with the onions taken out of the market, you would have synthesized a metric ton of the substance by now. Why did you need to bring me in?” he asked with obvious annoyance.

“Because I wanted someone else to appreciate my predicament,” said the voice after a pause. “It gets very lonely when you and you alone can’t cry. Where have all my tears gone, Mr. Blanc? Answer me that, and I’ll give you another million euros.”

Benoit thought of saying something like “Where has your heart gone?” but it felt too mushy for someone of Blanc’s sangfroid, and he decided that his job here was done, and shut his suitcase for the next flight to Dakkar.

Penman No. 301: Mysteries of Art (2)

RizalMural

Penman for Monday, May 7, 2018

 

 

LAST WEEK, I wrote about acquiring a trio of unsigned paintings I’m attributing to Serafin Serna (1919-1979), drawing on stylistic, thematic, and circumstantial evidence. This week, I’ll walk you on the trail of an art mystery that’s puzzled generations of viewers and scholars at the University of the Philippines.

For many decades now, a huge painting has been parked somewhere in UP Diliman—first at the College of Law, from where it was moved to the College of Fine Arts. Although terribly deteriorated, the painting depicts a man—clearly Jose Rizal—being accosted under the trees by at least six other men dressed in two kinds of uniforms—two priests, four soldiers—with more onlookers in the background. Rizal’s arms seem to be held behind his back, so he must be on his way to his execution; his sad, pensive demeanor certainly suggests so.

RizalMartinez

It seems to be an important painting—as any work with Rizal would tend to be, especially given its life-size dimensions (184 x 106 inches)—but the big question is, who painted it? It’s dated by the artist to “Manila, 1901,” but the signature above that has been blurred by age and grime. In the university’s inventory, it’s ascribed to an “A. Gomez,” the name whose letters appeared to emerge from the haze. Because nobody knows an “A. Gomez” who’s ever figured in our art history, the painting was considered second-rate and left quietly to decay.

Enter UP President Danny “Danicon” Concepcion, who as Law dean had seen the painting many times and had wondered, like everyone else, about its origins. Even without establishing who the painter was, now that he was president, he wanted the painting restored, given that it’s been with UP for so long and features a national hero.

For advice on the restoration, Danicon turned to my wife Beng, who’s worked on scores of master paintings over the past 20 years, from pieces by Juan Luna to Anita Magsaysay-Ho. (Just to be clear about this, Beng and I have agreed that she’s not going to do more for or with UP than give advice, pro bono, while I’m serving as Vice President for Public Affairs, to avoid any suggestion of impropriety. If no one else can or will do the job, then she’ll take it on for the most minimal fee she can quote, subject to all the applicable rules.) At the president’s request, Beng got together with noted artist Neil Doloricon, an old friend and former dean of the CFA, to sort out the situation.

They faced the same inescapable question: who painted Rizal & Co., and who was “A. Gomez”? As it happens, I think I’ve found the answer, or at least my theory of it.

MartinezSignatureEnhanced

Using high-resolution photographs Beng took of the painting, I digitally enhanced the signature and rendered it in monochrome to sharpen the contrast between the letters and the background. Indeed there’s what looks like an MEZ at the end with a long tail, and ahead of them, what seems to be an A. But I wasn’t seeing a G or an O to make GOMEZ. The more I stared at it, the more I saw “MARTINEZ” shaping up.

Martinez1

Martinez2

Some Googling revealed that a painter named Felix Martinez (1859-1907) was “a painter and muralist who created religious, genre, landscape and still-life paintings. He was a contemporary of Simon Flores, Lorenzo Guerrero, Paz Paterno and her half-sister Adelaida Paterno…. (He) also painted the interior of the San Sebastian church in Quiapo.” The ASEMUS website notes that “Felix Martinez y Lorenzo was a member of a family of sculptors and artisans. He was also an illustrator and an art professor. As an illustrator, he participated in… La Ilustración Filipina(1894-96) depicting daily life scenes. He also helped Regino García (1840-1916), another known Filipino naturalist art painter, illustrate La Flora de Filipinas(The Flora of the Philippines 1878), a creation of Fray Manuel Blanco.”

Examples of his paintings—particularly the one of “Gov. Blanco and His Troops” (1895), now at the National Museum—showed that again, in style and substance (and even in coloration), the Rizal mural could well have been his.

Martinez3

Do the signatures match? From those I’ve recovered—particularly a sharp one from a portrait of Pepita Bertoll in La Moda Filipina(with thanks to Pinoy Kollektor)—there’s a striking resemblance. I could be imagining things, but I can seem to discern the elevated M and T. Of course it will take more than my 64-year-old eyes and my enthusiasm to prove the case—further cleaning of the signature and better digital enhancement will surely yield clearer results—but an argument for Felix Martinez seems to be shaping up. But whether it’s by Martinez or not, this painting of Rizal by one of his contemporaries deserves to be saved.

Bertoll

Signature copy

(With many thanks to pinoykollektor.com for permission to repost the images.)