PHIL ARTS PRESENTATION.ppt

Art
Philippines
BS Biology 4
Shannon Alvior
Michael Andan
CJ Ballon
Jade Leuterio
Giselle Sabolbora
Paolo Sanchez
Chino Tan
Kristoffer Uytiepo
Dedric Yulo

Art
Philippines
Part of the charm of
Philippine Art lies in its
diversity of cultural
influences. Out of these
different influences,
Filipino artists have
distilled something that
we Filipinos could
recognize as truly our
own.

Art
Philippines
The Loom of Colonial Art
The Leap to
Modernism
The Rise of
Neo-Realism
The Transition to
Maturity
Pluralistic
Expressions
Exploring
Alternative Ways
The Essence of
Form
Art for the Many

Art
Philippines
The Leap to
Modernism
The Rise of
Neo-Realism
Pluralistic
Expressions
The Transition to
Maturity
Exploring
Alternative Ways
The Essence of
Form
Art for the Many

Art
Philippines
Sculpture was the main
art form in pre-Hispanic
Philippine culture.
When the voyager
Ferdinand Magellan
introduced Spanish
religious statuary into the
Philippines in 1521, the
queen of the southern
island of Cebu chose the
figure of the Christ as a
boy—the Sto. Niño—for
her baptismal present.

Art
Philippines
There were indigenous
words both for carving
and for sculpture.
Portraits in wood –
larawan (“picture”) and
likha (“creation”) –
represented specific
ancestors and heroes.
The idols or anitos were
also made from stone,
bone, ivory or crocodile
tooth, clay or gold.
Ancient Filipinos also
drew images on bamboo
or paper.

Art
Philippines
Chinese trade-ware
pottery and porcelain
containers used for
calligraphy and
brushwork have been
unearthed in pre-Hispanic
tombs along Laguna
Lake. Traders from the
Middle Kingdom must
have displayed samples
of their painting in the
islands.

Art
Philippines
Filipinos were certainly
familiar with the staple
colors from herbs and
clay, which they also
used for tattooing,
coloring pottery and
dyeing.

Art
Philippines
The Spanish culture and
religion inspired
portraiture. It took
Filipino artists only two to
three centuries to absorb
– and modify according
to their taste and
temperament – Western
art, which had taken the
Europeans themselves
several centuries to
develop.

Art
Philippines
In the process, the
classical heritage of the
ikon (the Greek word for
portrait) as distilled in the
Spanish concept of the
imagen was integrated by
Filipino artists with the
Chinese idea of the hua
and the Malay principle of
the larawan.

Art
Philippines
Like Philippine pre-
Hispanic art, the principal
purpose of Hispanic art
was religious. Art was a
visual aid to propagation
and enhancement of the
Christian faith. The five
major religious orders at
first commissioned
Chinese artists who had
immigrated to the colony.

Art
Philippines
The colonial art were
characterized with
ubiquitous whorled and
scrolled clouds, flowing
drapery, flattened lions,
almond eyes, soft
brushwork and emphasis
on line rather than light
and shadow.

Art
Philippines
Indio sculptors too were
summoned to carve icons
for the first churches, as
well as for home altars to
replace the anitos. Thus
was launched the
“popular” style of
religious sculpture, which
thrived in the rural areas
up to the close of the
colonial regime.

Art
Philippines
The image carvers
needed painters to
animate their works. The
usual method of
extracting tinting
pigments from natural
sources had to be
refined; coconut oil was a
good solvent. Working
with sculptors, early
painters learned the
Spanish estofado
technique, in which the
carved robes of the
figures were embellished
with polychromatic
designs.

Art
Philippines
In the beginning, painting
was lesser to sculpture.
In fact, some of the
earliest examples of folk
art are “statue–
paintings.” Drawn on
wood were stiff santos
copied from church
retables, with their
niches, pedestals, flowers
and flickering candles.
Till the end of the Spanish
era, Philippine sculpture
remained largely
religious.

Art
Philippines
The 18th century was the
formative period of
Philippine art. After more
than 100 years of
apprenticeship and
improvisation in Christian
art under Spanish
tutelage, the Filipinos,
both indios and mestizos,
were more than ready not
only to erect some
churches but also to
adorn them.
The Formative
Century (1700–1800)

Art
Philippines
The most common
subjects of religious
painting and sculpture
reflected Filipino social
values. The fondness of
children produced a
proliferation of Sto.
Niños, cherubim and
seraphim. Christ in His
Passion and Crucifixion
may have evoked their
difficulties under Spanish
rule. Pre-Hispanic
society’s high regard to
women was affirmed in
the countless tributes to
the Virgin Mary.
The Formative
Century (1700–1800)

Art
Philippines
Between the evolution of
sculpture and the
flowering of colonial
painting, the “midway”
art of engraving reached
its height in the 18th
century.
Colonial
Engraving

Art
Philippines
This is not surprising,
since it involved both
drawing and carving on
woodblocks and copper
plates. The quality of their
draftsmanship tells us
that the first engravers
were also painters. Until
this time, Philippine art
was religious. Engraving
signaled the beginnings
of secular art, particularly
the quest for Filipino
identity in a plural
national community.
Colonial
Engraving

Art
Philippines
The leading engravers,
Fransisco Suarez and
Nicolas de la Cruz Bagay,
did genre as well as
religious works, showing
their countrymen of
different racial and social
classes—including the
tao, or common man—in
various endeavors and
settings.
Colonial
Engraving

Art
Philippines
Engraving, like other
trades, was a craft whose
skills and techniques
were passed down
through apprenticeship in
a family enterprise.
Colonial
Engraving

Art
Philippines
Late in the 18th century,
as interest in the black-
and-white print waned
and its quality declined,
colonial painting began to
flower.
Colonial
Painting

Art
Philippines
Inspired by a royal
purpose (as ordered by
King Charles III) and
captivated by the beauty
of the islands, a Spanish
botanist named Juan de
Cuellar commissioned
Tagalog painters to draw
the range of flora and
fauna of the archipelago.
Colonial
Painting

Art
Philippines
These were the first still-
life paintings in the
Philippines. Over the next
century they would
appear unobtrusively in
the background of
portraits, genre pieces
and landscapes. The
earliest known painting of
a Philippine historical
episode—The Conquest
of the Batanes (1783)—
was a mural done by an
unnamed Filipino painter
in 1790 at the Palacio
Real in Intramuros.
Colonial
Painting

Art
Philippines
Faustino Quiotan, a
Chinese mestizo master
from Sta. Cruz district in
Manila, may have trained
with the 18th century
engravers and painters.
Like Giotto in Western
art, Quiotan stood at the
threshold of a new
tradition, which rejected
the hieratic and
stereotyped forms of the
official art and gave its
forms naturalness and
solidity.
Quiotan, Domingo &
Philippine Academic Art

Art
Philippines
Quiotan was certainly one
of the first Filipino artists
to show emotion in his
subjects. His most
representative work ,
Sedes Sapientiae, shows
a Madonna and child
exchanging affectionate
glances: the entire
composition throbs with
warmth and tenderness.
Quiotan, Domingo &

Art
Philippines
Damian Domingo y Gabor
was the Filipino master in
the early 19th century.
Quiotan, Domingo &

Art
Philippines
The self-assured
Domingo speeded up the
growth of art in the
Philippines when, in 1821,
he set up a private art
school in his spacious
house in Tondo town.
Perhaps because he was
acutely aware of his
catalytic role in Philippine
art, Domingo was the first
known Filipino artist to
do a self-portrait.
Quiotan, Domingo &

Art
Philippines
Filipino portraiture came
of age in the 19th century.
By this time the Filipino
had gained some self-
confidence, social
standing and economic
prosperity. Filipino artists
had always been at the
forefront of the search for
identity. Domingo was the
first Filipino artist to
resist the system of racial
classification and racial
prejudice the Spaniards
practiced.
Nineteenth Century
Portraiture

Art
Philippines
Domingo was primarily a
miniaturist. He had won
his wife Lucia by giving
her a miniature portrait of
herself that he had done
from a respectful
distance. Domingo’s own
autorretrato was painted
on an oval ivory
medallion. The romantic
nature of the Filipino was
probably responsible for
the popularity of the
miniature portraits during
this period.
Nineteenth Century
Portraiture

Art
Philippines
Domingo’s prize pupil
was Justiniano Asunción
y Molo, scion of a prolific
family, both in an artistic
and in genetic sense, of a
Sta. Cruz, Manila.
Nineteenth Century
Portraiture

Art
Philippines
Asunción’s flair for detail
soon surpassed that of
his teacher. Yet the
details in his portraits
always complemented
rather than competed
with his sitter’s face.
Nineteenth Century
Portraiture

Art
Philippines
Rivaling the fame of
Asunción was Antonio
Malantic y Arzeo of
Tondo, Manila.
Nineteenth Century
Portraiture

Art
Philippines
Though almost as
exuberant and certainly
as competent as
Asunción in rendering
details of embroidery and
jewelry, Malantic was
handicapped by a marked
linearity in his
composition.
Nevertheless, he was a
master of lyricism and
character delineation.
Nineteenth Century
Portraiture

Art
Philippines
One government order
which affected painting
was Governor-general
Clavería’s decree calling
for the systematization of
family surnames in 1849.
This decree started an art
form known as letras
figuras. In graphic terms,
it defines the identity of
the subject by illustrating
the letters of his complete
name (including the
maternal surname) with
his figure together who
those of relatives and
friends.
Nineteenth Century
Portraiture

Art
Philippines
Among the home grown
painters, the two most
acclaimed were Lorenzo
Guerrero and Simón
Flores. Simon Flores was
the first Filipino oil native
blood to garner a prize
from an international
exhibition. In 1876,
he was awarded a silver
medal at the Philadelphia
Universal Exposition for
his painting La musica
del pueblo (The Music of
the Town).
Nineteenth Century
Portraiture

Art
Philippines
During this time he might
already have made the
acquaintance of Mons
Ignacio Tambungui who
introduced him to the
wealthy families of
several towns of
Pampanga, for whom he
executed many portraits
and religious paintings.
Flores must have
executed as many as 20
portraits which include
the two versions of the
Familia Quiason.
Nineteenth Century
Portraiture

Art
Philippines
The Leap to
Modernism
The Rise of
Neo-Realism
The Transition to
Maturity
Exploring
Alternative Ways
The Essence of
Form
Art for the Many
Pluralistic
Expressions

Art
Philippines
Historically, the names of Juan Luna and Felix
Resurrección Hidalgo are inseparable; and their works
are the measure of Filipino artistic excellence
in the 19th century.
The Other
Luna

Art
Philippines
Both were men of their time; nationalists whose medals
won in the academies of Madrid & Barcelona were blows
struck for the cause of Filipino freedom.
The Other
Luna

Art
Philippines
Much has been written about the prizes both artists
took in the 1884 Salon exhibition in Madrid. However for
Juan Luna, his best works were still ahead of him. From
a dramatic and allegorical style he learned from Rome
and Madrid, he moved from a more expressive mode
characterized by freer brushwork and a more
liberal use of color.
The Other
Luna

Art
Philippines
In October 1884, Luna moved to Paris where his style
became increasingly European. He turned away from the
dark colors of the academic school to the bright palette
of outdoor painting.
The Other Luna

Art
Philippines
This post-academic period is said to be the period of
“the other Luna.” Two works of this period are Ensueños
de Amor and Street Flower Vendors.
The Other
Luna

Art
Philippines
In 1894, Luna returned to the Philippines. During this
period, Manila Period, Luna painted what some consider
being his best work: portraits of his family, particularly
the women and children, Tampuhan (1895) and the
celebrated Una Bulaqueña (1895), a full-figure portrait of
a lady in gala costume.
The Other
Luna

Art
Philippines
Luna died at the age of 42 just three weeks before the
1900s began. He left 1,000 paintings; about half survive.
Luna’s life and works are testimony enough of his
greatness as an artist and patriot.
The Other
Luna

Art
Philippines
Even before Luna’s time, Malantic and other painters of
the primitive schools painted everyday scenes: the
planting and harvest of rice, people going to market,
women doing the chores of home, and religious
festivals. These were the start of what the critic-painter
E. Aguilar Cruz calls “autochthonous tradition,” that
started in 1850 and still exists to this day.
Genre:
Depicting Everyday
Scenes

Art
Philippines
Genre scenes were first depicted by the engravers
Francisco Suarez and Nicholas Cruz Bagay in 1733,
whom the Jesuit Pedro Murillo Velarde commissioned to
draw maps of the Philippines. The map were decorated
with picture of carabao-drawn plows, cockfights, tropical
fruits and flowers and indios, Chinese and Spaniards of
the period in bright costumes.
Genre:
Depicting Everyday
Scenes

Art
Philippines
In 1855, with the establishment of the Academia de
Dibujo y Pintura, the painting of genre scenes became
routine. Aside from copying the religious works
prescribed by the Academy, students were painting
subjects from their environment.
Genre:
Depicting Everyday
Scenes

Art
Philippines
From 1890s until 1904, possibly as a result of improved
technology in photography, artists began to depict
scenes strong on mood and atmosphere. Artists were
painting scenes that stopped action or scenes suffused
with life. These resolved the tension between the guiding
European aesthetics and their native sensibility.
Genre:
Depicting Everyday
Scenes

Art
Philippines
The 19th century genre painters were more truly
representative of an indigenous style with their depiction
of the Philippine landscape, people and their activities.
One example was is Lorenzo Guerrero who painted
“with nature always close at hand, believing
God to be the only true creator.”
Genre:
Depicting Everyday
Scenes

Art
Philippines
One of the most profound influences on Philippine genre
painting in general was Fabian de la Rosa, the brightest
name in Philippine painting after Luna. At the core of his
art were good drawing, balance and an austere palette.
Among his famous genre paintings is Planting Rice, that
combined the immediacy of the everyday sight with the
classicism of the eternal.
Masters of
Genre:
De la Rosa &
Amorsolo

Art
Philippines
De la Rosa excelled in depicting women in the middle of
their daily round activities. His best works depict women
together as a group. De la Rosa was not only a genre
painter but an accomplished portraitist and painter of
landscapes with modulated colors, classical lines and
well-ordered composition.
Masters of
Genre:
De la Rosa &
Amorsolo

Art
Philippines
By the 1930s the most successful and celebrated artist
was Fernando Amorsolo. His works are characterized by
bright splashes of color mixed with grays. He specialized
in painting idyllic rural scenes peopled by typical heroes,
and idealizing country women with sensuousness. He
discovered the painterly brilliance of the Philippine sun
in landscape painting.
Masters of
Genre:
De la Rosa &
Amorsolo

Art
Philippines
The years 1920 to 1945 stand out as Amorsolo’s Golden
Period. One critic cited Amorsolo’s use of “color,
triumphant over realism” as the undoing of Philippine
genre. His works captured the optimistic spirit and grace
of peacetime Philippines, before the Pacific War of 1941
– a time of innocence for the Philippines.
Masters of
Genre:
De la Rosa &
Amorsolo

Art
Philippines
Modernism as a movement in the Philippines opened
formally in 1928 with a bang with an exhibition of works
by another architect and painter, Victorio Edades. The
most controversial painting in this landmark exhibition
was The Builders, a dark and heavily textured work
depicting men working in a quarry.
Roots of
Modernism

Art
Philippines
Edades found inspiration in the modernist idiom of
Cezanne, Picasso and Gauguin. His works departed
entirely from the classicism of de la Rosa and the
pastoral style of Amorsolo. Seven years after Edades’
landmark exhibit, the modernist Diosdado Lorenzo
exhibited works with “moderate distortion” with a well-
ordered kind of turmoil and tension.
Roots of
Modernism

Art
Philippines
In 1935 Edades was commissioned to paint a mural for
the lobby of a fashionable Manila theater. He executed it
together with his students Carlos Francisco and Galo
Ocampo. Together, they became known as the
“Triumvirate of Modern Art”.
Roots of
Modernism

Art
Philippines
In 1913 Juan Arellano returned from studies in Europe a
licensed architect and a full-fledged Impressionist.
Although he studied in Europe, he did not attend any
European art school. He “made the world his finishing
school and nature his teacher”. He was also a dazzling
colorist. He is the first true impressionist painter the
Philippines has produced.
Roots of
Modernism

Art
Philippines
Modern painting, is the
kind the public often
describes as abstract,
began belatedly soon
after World War II with the
rise of neo-Realism in the
1950s. The original
members of this
movement were
Hernando R. Ocampo
Ramon Estella, Vicente
Manansala, Victor Oteyza,
Cesar Legaspi and
Romeo V. Tabuena.

Art
Philippines
The neo-Realists
“shattered Manila’s calm
artistic atmosphere” by
taking modernism much
further than Victorio C.
Edades did before the
war. Viewed from the
perspective of the 1950s,
the work of Edades, the
solitary, much vilified
vanguard of prewar days
now widely regarded as
the “Father of Philippine
Modern Art,” was
beginning to pall.

Art
Philippines
One reason a post war
generation turned to
modernism was the need
to break with the genteel
tradition of Fernando
Amorsolo that had long
dominated the art scene
who had reduced post-
Liberation painting to
little more than pretty
illustration.

Art
Philippines
Another reason was Life
Magazine and the spate
of art books brought into
the country at war’s end.
As Arguilla recounts,
“The end of the war
released pent-up
creativity. Enthusiastic
groups of painters met
frequently in coffee
shops and in each other’s
homes to talk art and to
criticize each others
work.”

Art
Philippines
The Neo-realists
represented 2 directions
in abstract painting. One
(1) is non-naturalistic, in
which subject matter is
transformed by
innovative or radical
simplification,
“distortion,”
fragmentation and
deconstruction. The other
(2) direction deletes
subject matter altogether
as abstraction.

Art
Philippines
What rocked the
academic establishment
of the time even more
was the Neo-Realist
assumption that art didn’t
have to soothe nerves or
bring relaxation, but
rather to open their eyes
to new ways of seeing, to
shake people up from
complacency and
presupposition, to make
them think.

Art
Philippines
The criteria for judging
art then emphasized not
only technical excellence
but also originality or
freshness of creative
ideas.

Art
Philippines
Modernism meant
internationalism and had
little to do, if it all, with
native subject matter.
Most artists espousing
this were convinced that
“Filipinism” not only
distracted from
producing a good work of
art; it was also parochial,
narrow-minded,
irrelevant.

Art
Philippines
In the comparative quiet
of Angono, Rizal,
meanwhile, lived the
greatest muralist the
country has produced –
the legendary Carlos
“Botong” V. Francisco.
Although regarded as one
of the moderns, he
upheld the importance of
subject matter –
nationalist ideals –which
the more vocal Neo-
Realists chose to
eliminate from their
paintings.

Art
Philippines
Francisco’s most
impressive feats are
mural commissions he
did for a number of
Manila’s public buildings
and residences. In these
oils canvas murals, he
depicted Filipino legends,
customs and traditions as
well as important
historical events from
pre-Magellan to
contemporary times with
authenticity and panache.

Art
Philippines
Botong’s contribution to
Philippine art is
considerable. He showed
the way toward the
evolution of a distinct
representational idiom
based not on subject
matter alone but on those
formal qualities reflecting
an artist’s particular
response to things
conditioned by
environment and
tradition.

Art
Philippines
Manansala’s own type of
abstraction which he
called “Transparent
Cubism” held on to whole
images, distorting them
to produce curves and
angles in delicate
balance, rarely breaking
them up into jigsaw
puzzle pieces, in order to
fully exploit their sensate
aspects of shape, color
and texture.

Art
Philippines
The baroque sensibility
showed up early on in the
works of Fernando Zobel.
An inveterate draftsman,
filling up sketchbook
after sketchbook
wherever he went, Zobel
delighted in drawing the
Spanish elements in
Philippine culture with
unabashed enthusiasm
and with an eye for the
piquant and ludicrous.

Art
Philippines
Another painter who
stuck to pure abstraction
was Constancio
Bernardo. Fresh out of
Yale University, where he
studied with one of the
country’s renowned
masters of modern art,
Josef Albers, he
displayed a geometric
type of abstraction
wedded to a highly
sophisticated colors
sense.

Art
Philippines
The decade of the 1960s was significant not only
because it linked the representational painters of the
immediate past with the expressionists and
nonfigurative painters of the succeeding generation. It
also provided the nurturing environment for the
encounter of different artistic traditions.

Art
Philippines
In its hospitable environment, artists of at least three
generations were challenged to develop their talents and
set their own directions. Thus the decade was a freeing
and prolific period for national art. Through the 60s, the
by-then legendary neo-realists moved from strength to
strength such as Carlos Francisco, Vicente Manansala,
Hernando Ocampo, and Cesar Legaspi.

Art
Philippines
Unless an artist is carried away by his emotions, it is
technique which moderates his art, which give it order
and clarity. Technique provides the balance. It reigns in
the artist’s emotions during the process of painting.

Art
Philippines
The basis of Manansala’s technical proficiency was his
ability to draw. Draftmanship was a discipline to which
the artist subjected himself. Colors are integral to
Ocampo’s forms. His bold, solid and often highly intense
colors – red, blue, yellow, green, orange with touches of
black – clash in contrast even as they complement each
other in uneasy harmony.

Art
Philippines
Legaspi’s leitmotif is concern for the disinherited,
struggling to exist in a harsh world. The social content of
his murals reflects the influence of the protest
movements of the postwar period. His later paintings
show the artist, having arrived at a kind of liberation, in a
milieu of his own creation, orchestrating his creative
energies into a complex and resonant symphony.

Art
Philippines
Dominant during the fifties and sixties was abstract
expressionism or action painting, and the country’s
leading avant-garde painter of that period was Lee
Aguinaldo, whose works eloquently spoke the
nonfigurative idiom of the international art style. The
period was Aguinaldo’s “gold period”, because his
paintings were monochromes in gold.

Art
Philippines
The Leap to
Modernism
The Rise of
Neo-Realism
Pluralistic
Expressions
The Transition to
Maturity
Exploring
Alternative Ways
The Essence of
Form
Art for the Many

Art
Philippines
The 70s were marked by
political unrest in many
parts of the world. In the
Philippines authoritarian
rule was sharpening
poverty and oppression.
Amid all this tension, an
art boom was strangely
forming in Metro Manila.
A busting commercial
market was cashing in on
the business of art-
making.

Art
Philippines
The decade was the
redoubtable “Golden Age
of Philippine Art”. The
politicized atmosphere at
the beginning of the
seventies influenced
shifts in perception and
value in national art. By
the middle of the decade,
anti-Establishment
sentiment had turned into
outright protest. Not only
was art politicized; it was
helping shape the
national consciousness.

Art
Philippines
In the late1960s the CCP
had gained stature as the
place in which the arts
were rooted. Under young
and assertive directors,
its museum assimilated
Western avant-garde and
conceptual philosophies.
This interest widened to
include pop art,
“happenings”,
environmental
assemblages, new
realism, performance and
sound works.

Art
Philippines
Figurative Expressionism
had first appeared in the
sixties. By the seventies
the style had reached
maturity. The term is an
expression of defiance
against the norms of what
is considered traditionally
“beautiful”. Strange faces
and forms, oddly familiar,
reveal hidden truths from
some subconscious
source.
Figurative
Expressionism

Art
Philippines
Local figurative
expressionist art conveys
images of sickness, fear,
death and anguish. The
paintings are
characterized by
emotional intensity and
the use of bold colors to
suit mood and
temperament.
Figurative
Expressionism

Art
Philippines
Ang Kiukok, a cubist of
the sixties, moved into a
more intense
expressionism. His earlier
works, although
geometrically distorted,
had a quiet lyricism
vanished from his works
of the seventies. He
painted ferocious dogs
and fighting cocks.
Kiukok also painted men
on fire; Christ writhing on
His cross; empty bottles
framed by the window;
fish bones.
Figurative
Expressionism

Art
Philippines
Onib Olmedo uses street
children, vendors,
prostitutes and other
denizens of the big city
as his subjects. His
portraits probe the
deepest feelings of his
subjects. He distorts their
faces to the extreme. The
monstrous personalities
that emerge have no
identifying marks to
denote their social rank,
occupation, or even
identity.
Figurative
Expressionism

Art
Philippines
Danilo Dalena started out
by painting an
unsanitized view of life
and times at subsistence
level. Dalena uses strong
contrasts to add a
surrealistic drama to his
paintings. Earth colors
that are distinctly urban
become even more
intense because they are
set off by light and dark:
a chaotic composition of
moving, breathing,
vibrating humanity seen
only through highlighted
limbs and featureless
faces.
Figurative
Expressionism

Art
Philippines
Painters became
engrossed in finding
distinct images or
symbols to portray the
Filipino and his distinct
culture.
The Search for
National Identity

Art
Philippines
A painter of strength and
psychological penetration
is Benedicto Cabrera,
who signs his works
“Bencab”. His works are
characterized by stylized
figures and their
surrounding space, often
enriched by graphic
compositional devices.
The Search for
National Identity

Art
Philippines
These paintings
portrayed specific
Filipinos in different
stages of exile. Traces of
homesickness, clinging
to memories of traditions,
and friends on foreign
soil are the themes
around which his figures
existed.
The Search for
National Identity

Art
Philippines
Other artists who refused
to conform to the urban
aesthetic of Manila –
some as a form of protest
– were Angelito Antonio,
Antonio Austria, Norma
Belleza and Mario Parial.
The Search for
National Identity

Art
Philippines
Jose V. Blanco’s themes
rendered in murals and
large paintings presents
the human figures as
large as life. He uses the
town and people of
Angono to represent the
quintessential Filipino.
His works stand out in
their stubborn refusal to
be documents of passing
events.
The Search for
National Identity

Art
Philippines
The DIMASALANG
GROUP got its name form
the Old Manila street on
which some of its
members began to eke
out a living. They used
the Impressionist
language which had
revolutionized European
art in the 1870s. The
acknowledged leader of
the Dimasalang Group
was Emilio Aguilar Cruz,
a journalist, diplomat and
painter.
Neo-impressionism &
Magic Realism

Art
Philippines
The seventies also saw
emerge a branch of
Philippine realism which
looked up to the New
England master, Andrew
Wyeth. Their style came
to be known as “Magic
Realism”. Wyeth’s
rendering of nature
produced paintings
almost as lifelike as
photographs.
Neo-impressionism &
Magic Realism

Art
Philippines
Among the artists whose
styles bordered on Magic
Realism were Lito
Barcelona, Jose Burgos,
Tom Burgos, Cee Cadid,
Criz Cruz, Andi Cubi, El
Gajo, Agustin Goy,
Amado Joson, Nestor
Leynes, Efren Lopez,
Ulpiano Morada, Cesar
Poseca, Vincent Ramos,
Rudy Roa, Jaime Roque,
Ephraim Samson and
Steve Santos.
Neo-impressionism &
Magic Realism

Art
Philippines
Lino Severino reworks
the legacy of colonial
house architecture in his
Visayan province of
Negros Occidental.
Neo-impressionism &
Magic Realism

Art
Philippines
Severe economic and
social inequality in
society and the class
struggles that arose from
this condition are
powerful subject of
Philippine art after the
imposition of martial law
in 1972. Dissident artists
began to consider
alternatives to traditional
subjects and media.
Artists in the city shifted
from oil painting to more
urgent propagandist
forms: posters,
illustrations, cartoons
and comics.
The Rise of
Social Realism

Art
Philippines
Social Realism sought to
depict the situations and
concerns of the poor and
the voiceless majority
under the authoritarian
regime. It addressed itself
to the comfortable middle
class – to awaken its
social and political
consciousness – as well
as to workers and
peasants, to inspire them
to take part in the
national struggle.
The Rise of
Social Realism

Art
Philippines
Social Realism would
continue in the next
decade. It has guided
artists who believe that
art crystallizes the
experiences and
aspirations of a people.
The movement therefore
is a vital part of the
Filipino’s historical
struggle for social
equality and economic
emancipation.
The Rise of
Social Realism

Art
Philippines
The impact on the
cultural scene in the
1960s of the
abstractionist Jose Joya
signaled the critical and
commercial triumph of
abstractionism in the
Philippines. Joya stormed
the citadels of figurative
painting of which the
cubist-inspired Vicente
Manansala was patriarch.
2nd Generation
Abstractionists

Art
Philippines
Minimalist Movement’s
painting liberated the
Filipino artist from
ornamental excesses of
his essentially baroque
sensibility. The pictorial
inventiveness of the
Filipino artist is evident in
his joyous fragmentation
of space through
patterning and festive
colors. Minimalism – with
its eloquence of silence
and its basic, non-
emotive geometry –freed
the Filipino artist from
visual parodies.
2nd Generation
Abstractionists

Art
Philippines
The Leap to
Modernism
The Rise of
Neo-Realism
Pluralistic
Expressions
Exploring
Alternative Ways
The Essence of
Form
Art for the Many
The Transition to
Maturity

Art
Philippines
The turbulent eighties saw dynamic movements in
national politics. The assassination of the opposition
leader Benigno Aquino, Jr., resulted barely two years
later in a peaceful. Popular rebellion under Aquino’s
brave and stubborn widow.

Art
Philippines
The cultural center started a move to bring art to the
regions. But art lost its official patronage under Imelda
Marcos, as the successor to the regime sought to keep
the country afloat amid financial bankruptcy and debt,
natural disasters, and coup d’etat attempts. In this turbid
atmosphere, social comment increased in art, writing
and even popular music.

Art
Philippines
Artistic expression reflected the national struggle to
survive and to prosper. New materials emerged together
with new methods of expression. It is this pluralistic
state of the arts that leads today’s Filipino artist toward
defining what is distinctly Filipino.

Art
Philippines
The 80’s were ushered in by the lifting of martial law
and the pastoral visit of Pope John Paul II in 1981. Both
events renewed interest in religious subjects and in
works with strong social comment. The social realists
continued their crusade. New hope was
their primary message.
Figurative
Art

Art
Philippines
Edgar Talusan Fernandez painted Kahapon, Ngayon at
Pangarap (“Yesterday, Today and Hope”), which shows a
brown Filipina standing in the center of a picture of the
Philippine Flag in the manner of the Crucified Christ.
Figurative
Art

Art
Philippines
The woman is clearly the allegorical Motherland,
surrounded by enemies, as symbolized by the ropes tied
to her wrists. But the painting is hopeful that the country
will survive poverty and oppression as shown by the
vertical display of the flag: the red field is on the viewer’s
right, which is the way the Philippine colors are
displayed in times of peace.
Figurative
Art

Art
Philippines
Renato Habulan moved from themes contrasting classes
on society to themes incorporating the importance of
traditional beliefs – particularly the role of religion in the
struggle for social justice.
Figurative
Art

Art
Philippines
His paintings showed Christian religious scenes and
rituals celebrated by the tillers of the earth. Christ’s
struggle is highlighted strongly in strongly religious
thematic paintings. Although dressed in classical robes,
both the Christ and His mother have native features.
Figurative
Art

Art
Philippines
Social realism now gained adherents among regional
artists, particularly in the province of Davao, Negros
Occidental and Cebu, which all have severe agrarian
conflicts. Regional artists painted large scale works and
murals on local issues and in styles open to technical
innovation and the use of nontraditional materials.
Figurative
Art

Art
Philippines
Two artists from Negros Occidental gave voice to social
themes in an expressionistic manner. Charlie Co
chooses the surreal landscape as backdrops for freely
distorted figures. His flamboyant paintings have a wry
humor. Nunelucio Alvarado paints the migrant workers
and the settled people of the sugarcane plantations.
Figurative
Art

Art
Philippines
Bencab continued his effort to portray the Filipino as an
iconic image in the country’s changing history. His
current images reflect the turbulence brought about by
recent earthquake and volcanic eruptions.
Figurative
Art

Art
Philippines
Also working in a combination of the expressionist and
realist manners on socioeconomic statements are artist
who call themselves the “Salingpusa” (Junior Players)
Group. Elmer Borlongan focuses on one or two figures,
often those of street children. His works rise to the level
of drama because of his expressionistic distortions of
the figure and the strong contrast of light and shadow.
Figurative
Art

Art
Philippines
Other members of the group – Marc Justinian , Neil
Manalo, Tony Leano, Ferdie Montemayor and Karen
Flores – work in varying manners of realist-expressionist
handling of paint, while making social commentary.
Other artist working in the neo-figurative expressionist
mold include Isabel Limpe-Chungunco, Stella Roxas,
Karise Villa, Marcel Antonio, and Ramil Segovia.
Figurative
Art

Art
Philippines
The patchwork configurations in the paintings of Roy
Veneracion signaled an exciting direction in Philippine
abstraction. His works, with their tattered and clumsy
patterns, are an aesthetic criticism of the cosmetic
refinement that soon characterized the smooth and
immaculately crafted minimalist Philippine paintings.
Abstract
Painting

Art
Philippines
Veneracion’s intentional shabbiness of texture and his
exaltation of trashy and scratched surfaces force the
viewer a recognition of the painting as an object
controlled by the artist. Linear drawing, oscillating color
areas, select figurative forms, energetic and rhythmic
interlacing of undetermined puzzle parts combine in an
elegance like the improvisation of jazz musicians.
Abstract
Painting

Art
Philippines
Sid Gomez Hildawa combines an adventurous
temperament with intellectual restraint. His works are
animated by dissonant compositions. Shape as a
descriptive device in abstraction was the format
elaborated on by Romeo Gutierrez. Sharply defined
curvilinear blocks of space emerge from the rhythmic
interlacing of his planar forms.
Abstract
Painting

Art
Philippines
The late 60s into the 1980s were filled with activity of
centered on the CCP. Filipino experimentalists were
fired by both the counterculture of new “smart art” and
the decline of formalism and old values. Many of these
iconoclasts derived as much joy from trying new
territory as they did from shocking polite audiences. A
kind of “neo-Dadaist” mentality pervaded many works.
Abstract
Painting

Art
Philippines
The Leap to
Modernism
Pluralistic
Expressions
The Transition to
Maturity
Exploring
Alternative Ways
The Essence
of Form
Art for the Many
The Rise of
Neo-Realism

Art
Philippines
For centuries painting
and sculpture were
devoted to religious
subjects, under the
exclusive patronage of
the Catholic Church.
Spanish Period
from 1879

Art
Philippines
In 1879 the Academia de
Pintura, Esultura y
Grabado de Manila began
to offer courses in
sculpture and the first
sculptors were Bonifacio
Arevalo, Marcelo
Nepumoceno and
Graciano Nepumoceno.
Spanish Period
from 1879

Art
Philippines
Like the early painting,
early secular sculpture
consisted of portraits,
three-dimensional tipos
del pais, local animals,
symbolic dramatic
subjects, genre works
and tableau reliefs. The
genre figures strived
toward realism, while
staying within
conventional norms. In
the late 19th century, the
first nudes where then
done in the classical
style.
Spanish Period
from 1879

Art
Philippines
Classical Philippine
sculpture reached its
peak in the work of
Guillermo Tolentino. His
works were mostly made
of marble and cast
bronze. He is best known
for three sculptures,
which are the Oblation,
Venus and the Bonifacio
Monument. Tolentino
used classical and
romanticism ideals with
his Bonifacio monument.
The American
Period

Art
Philippines
Tolentino was also an
excellent portraitist
having Anastacio Caedo
and his son Florante as
his students. Both
students were known for
being master portraitists
and for making relief
sculptures of Filipino
Heroes.
The American
Period

Art
Philippines
Modernist Sculpture took
so long to make its mark.
Only in the 1850s was
Guillermo Tolentino’s
dominance challenged by
his student Napoleon
Abueva. Abueva was a
pioneering modernist in
sculpture using both
eccentric and common
materials. Modernism in
Philippine sculpture
began by stylizing natural
shapes, showing the
influence of Cubism,
Brancusi and Henry
Moore.
Contemporary
Sculpture

Art
Philippines
Abueva did numerous
pieces which were made
to draw out the basic
plastic form of the figure.
He then broadened his
style on the abstract.
Much of his works were
made of narra, molave
and bronze. In bronze he
approaches realism, but
for a slight distortion or
elongation of the figures.
Contemporary
Sculpture

Art
Philippines
Abueva rarely idealizes
the human figure. He
maintained an earthly at
times erotic, quality with
it. So rich and diverse is
Abueva’s imagination that
his work draws from
every source, and ranges
from the representational
to the most abstract.
Contemporary
Sculpture

Art
Philippines
In the 1960s, sculpture
was both fruitful and
innovative having great
contributors such as J.
Elizalde Navarro,
Lamberto Hechanova and
Edgar Doctor.
Contemporary
Sculpture

Art
Philippines
Other contemporary
sculptors include
Francisco Verano,
Ildefonso Marcelo,
Renato Rocha, Ramon
Orlina, Imelda Pilapil,
Pablo Mahinay, Conrado
Mercado, Honrado
Fernandez, and Charlie
Co.
Contemporary
Sculpture

Art
Philippines
A Bacolod artist, Charlie
Co, uses terra-cotta as
his medium in depicting
his figures of the
oppressed migrant
workers of the sugarcane
plantations. Particular
merit of the hand molded
clay medium lies in its
personal quality, the soft
clay responds to the
every movement of the
creative impulse and
bears the impression of
the artist hands.
Contemporary
Sculpture

Art
Philippines
Philippine Sculpture has
been marked by rich
diversities of concepts,
forms, and media. From
its roots in the ancestor-
figure and rice god,
through its classical
definitions in the
academy, it has come to
achieve a contemporary
breadth of form and
expression, reflecting
both technological
developments and
conceptual revelations.
Contemporary
Sculpture

Art
Philippines
The Leap to
Modernism
Pluralistic
Expressions
The Transition to
Maturity
Exploring
Alternative Ways
Art for the Many
The Rise of
Neo-Realism
The Essence of
Form

Art
Philippines
During period of American rule (1898-1946), the
Philippines had no graphic art to speak of.
1900 to
1950

Art
Philippines
In 1957, a Graphic Art Exhibition was held in the
Philippine Art Gallery by Juvenal Sanso whose etchings
were done in Paris. Sanso exerted no direct influence to
the development of Philippine graphic art since he lived
in France since 1953. He was named Print Artist of the
Year by the Cleveland Museum of Art Print Club in 1964.
1900 to
1950

Art
Philippines
In 1959-1960, Boyd Compton, a representative of the
Rockefeller foundation visited Manila to see if he could
interest a Filipino artist or two in print making in the
Untied States.
1900 to
1950

Art
Philippines
The Rockefeller Foundation chose Manuel Rodriguez, Sr.
Their grant enabled him to work with the South American
printmaker Mario Lasansky in Iowa. He studied at the
Pratt Graphic Institute in New York to further sharpen his
skills. Rodriguez set up an art gallery in Malate where he
began to acquaint the public with original fine prints in
cooperation with the art broker Enrique Velasco.
The 1960’s

Art
Philippines
Arturo Luz, who studied art in Oakland, New York and
Paris, also brought back print making as part of his
artistic repertoire when he came to Manila in 1950. Luz
also set up an art gallery in Ermita, exhibiting works by
Picasso, Matisse, Chagal, Bernard Childs, Antonio
Clavel, together with Japanese masters of the traditional
woodcut like Munakata and Saito, and Eskimo prints.
The 1960’s

Art
Philippines
In the early years of the 80s, the Philippine Association
of Printmakers (PAP) underwent a leadership and
organizational crisis. The association suffered a setback
in the absence of printmaking activities, graphic arts
competitions and workshops. The PAP was revived after
the EDSA revolution through the efforts of Adiel Arevalo
who gathered printmakers to talk about the situation.
The 1980’s

Art
Philippines
The following are some of the Filipino print artists:
Hilario Francia, Vergilio Aviado,
Manuel Rodriguez, Jr., Marcelino Rodriguez, and Ray
Rodriguez, Mario Parial, Rodolfo Samonte, Romulo
Olazo, Ileana Lee, Lito Mayo, Benedicto Cabrera, Ofelia
Gelvezon Tequi, Manuel Soriano.
The 1980’s

Art
Philippines
Art for the Many
The Essence
of Form
Exploring
Alternative Ways
Pluralistic
Expressions
The Rise of
Neo-Realism
The Leap to
Modernism
The Transition to
Maturity

Art
Philippines
Shannon Alvior
Michael Andan
CJ Ballon
Jade Leuterio
Giselle Sabolbora
Paolo Sanchez
Chino Tan
Kristoffer Uytiepo
Dedric Yulo
Back to
Start Page
Philippine art defines
and captures the Filipino
identity. It has become a
tangible representation
of the most important
facets of our people,
while giving form to the
ideals and aspirations
innate in every Filipino.
Identity, culture and
dreams are breathed life
by the arts.

PHIL ARTS PRESENTATION.ppt

Recommended

Recommended

More Related Content

Similar to PHIL ARTS PRESENTATION.ppt

Similar to PHIL ARTS PRESENTATION.ppt (20)

Recently uploaded

Recently uploaded (20)

PHIL ARTS PRESENTATION.ppt