Luna married his Paz on December 7, 1886, and celebrated their honeymoon in Venice. Filled with inspiration, Luna painted Hymen, oh Hyménée, Venecia, and Sorprendidos among others during their travels as newlyweds.

In understanding Luna’s oeuvre, one would see his familiarity with classical history as well as literary works. La Belleza was inspired by Edward Bulwer-Lytton’s 1834 novel, The Last Days of Pompeii. Cleopatra was definitely his ode to the last Pharoah of Ancient Egypt. Spoliarium hails elements from a scene depicted in Charles Dézobry’s fictional travelogue, Rome au siècle d’Auguste (Rome in the Age of Augustus). For Hymen, oh Hyménée, Luna was inspired by the marital chant written by the Ancient Roman poet, Gaius Valerius Catullus. His work carmen 62, out of a collection of 113 carmina (poems) remained popular throughout the ages. 

This particular poem gave Luna an impressionist picture of a bride shrouded by a veil and being removed from the festivities. Alluded to Luna’s wife, the bride of the Roman wedding in Pompeii or Paz herself seemed lonesome, dazed, and vulnerable. Luna, the groom, was absent from the picture but his classicism and erudition are evident in the luxurious interiors of the inner courtyard, the architectural details, the mythological murals, and the iconic rich Pompeii red.

“The scene shows various bridesmaids, guests, and sundry folk; their postures are candid and almost random,” as written in the exhibition note. “Swift, proficient brushstrokes and thick impasto conjured the commodious hall with the bridal party, flower-strewn marble floors, incense wafting against the deep red walls. The impressionistic execution of pictorial space combined with the casual atmosphere appeared fresh and modern, and appealed in Paris at the turning point of a new century,” the write-up continues.

Read also: Who was Artist and Painter Félix Resurrección Hidalgo?

It is uncommon to have an exhibition solely about an individual work of art. But a long-lost cultural treasure like Hymen, oh Hyménée clearly has stories to tell about a time and place not our own.

Ayala Museum’s exhibition Splendor: Juan Luna, Painter as Hero, designed by scenographer Gino Gonzales, examines this single work of art around three themes: the world of 1889; Luna, the painter as a hero; and the complex imagery in the painting inspired by a Roman wedding feast.

A substantive and handsome catalogue with essays by historian Ambeth R Ocampo, PhD, film director Martin Arnaldo and curators Ditas Samson, Tenten Mina, and Jei Ente captures this watershed moment in the artist’s life and, by implication, our nation’s history.

See more: Ambeth Ocampo on making Truth triumph in an Age of Disinformation

A documentary film by Martin Arnaldo traces the recovery of the artwork while at the same time capturing the dilemma of the late 19th-century Filipino diaspora for Luna, which arguably is still true for his countrymen living and working abroad today. This film is showcased in the Samsung The Premiere Room which features an immersive 130-inch screen and a soundbar that completes the theatre experience within the exhibition space. The film will also be aired on CNN Philippines on July 8.

A video tour of Hymen, oh Hyménée’s complex imagery, narrated by Ocampo, will also be available for viewing on Ayala Museum’s website.

Once again confirming his undeniable genius and artistry in the face of racial bias, Luna’s victories, to quote Ocampo, “produced a groundswell of pride in (his) countrymen that resonates to our times with Lea Salonga’s triumph on the West End and Broadway, Manny Pacquiao’s conquest of World Boxing and last but not the least, weightlifter Hidilyn Diaz bringing home the first Olympic Gold to a proud and grateful nation.”

The multimedia exhibition also covers boceto details of the long-lost painting and its artist’s life through an immersive experience. One of its interesting features is the narration of Catullus’s carmen 62 in Latin. But perhaps the most beautifully designed space is that of Luna’s bust which reminds one of a Parisian garden and Roman ruins.

Splendidly put, the exhibition gathers moments and artefacts of Luna’s artistry and storied life in a true impressionist manner. But in a foreboding manner, it leaves the tragic ending of his marital life to the viewers’ imagination. Without telling the fact that Luna eventually killed his wife in a crime of passion, a detail of the long-lost painting served as viewers’ peephole into how the story ends. 

“A small tortoise on the floor symbolises Luna’s desire for his bride to be submissive and happy in the privacy of her home,” as written in the exhibition note.

The exhibition is co-presented by Ayala Corporation, Ayala Land, Inc., and Insular Life (InLife) with major support by BPI and SMEG. Samsung is the official audio-visual partner. Splendor runs until December 31, 2023.

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