Juan Luna was a distinguished Filipino painter born to Joaquin Luna and Laurena Novicio on October 23, 1857

in Badoc, Ilocos Norte. He studied designing at the Academia de Dibujo Y Pintura at the Ateneo de Manila. He entered Escuella de Bella Artes in Madrid while he was on travel in Spain in 1877. The famous masterpieces that made Juan Luna a renowned painter are The Death of Cleopatra, The Blood Compact and The Spolarium. The Death of Cleopatra made him won the gold medal and was sold for 5000 pesetas in 1881. Other remarkable works included: * Ang Mestisa * Ang Labanan sa Lepanto * Ang Tagumpay ni Lapu-lapu * Ang Aliping Bulag * Ang Espanya sa Pilipinas When he returned to the Philippines he was suspected of being a member of the Katipuneros that is why he was captured and imprisoned at Fort Santiago in 1896. Afterwards he went back to Spain and joined with Graciano Lopez-Jaena, Marcrlo H. del Pilar and Jose Rizal. Shortly he died on December 7, 1899 due to sickness. Felix Resurreccion Hidalgo was Filipino painter that sprung during the 19th century. He was the third son among the seven children of Eduardo Resurrecccion Hidalgo and Maria Barbara Padilla and was born on February 21, 1853 in Manila. He studied in the University of Santo Tomas and simultaneously enrolled at the Escuella de Dibujo y Pintura. He enrolled at the Academia de Bellas Artes de San Fernando de Madrid. The following are the masterpieces of Felix Resurreccion Hidalgo: * Flora de Filipinas (Plants of the Philippines) - awarded second place for best cover design for de Luxe edition. * La Siesta (Nap in the afternoon) - a piece which was favorably reviewed in La Ilustracion Espanola y Americana in 1881. * Las Virgenes Cristianas Expuestas al Populacho (The Christian virgins to the Populace) - garnered the ninth silver medal award by the Exposicion General de Bells Artes in Madrid in 1884. * La Barca de Aqueronte (The Boat of Charon) - received a gold medal in the international exposition in Madrid and was bought for 7500 pesetas by the Spanish government. * Laguna Estigia (The Styx) * El Violinista - was accorded a gold medal at the Universal Exposition in St. Louis, Missouri. The first Filipino who was distinguished as the Philippines National Artist in Painting was Fernando Amorsolo in 1972. His paintings were exhibited on January 23, 1969 during the inauguration of the Manila Hilton's art center and he was named as the "Grand Old Man of Philippine Arts". Amorsolo's works covered a variety of subjects but he was especially known for ideal and romantic subjects that portrays the images of life in the countryside of Filipino women such as the Dalagang Bukid or Dalagang Nayon. He also painted historical paintings on pre-colonial and Spanish colonization and events of Filipino customs, fiestas, occupations and cultures.The technique of backlighting and the use of natural light were Amorsolo's trademarks. Victorio C. Edades became known as the "Father of Modern Philippine Painting" because of his technique in painting in bold impasto stroke and his advocacy in creative art. The themes illustrated in Edades' works featured laborers, simple folk and factory workers and he preferred to use dark and sad colors contrasting to Amorsolo's technique. He became the Dean of the University of Santo Tomas' Department of Achitecture in the 1930's. He was the one who introduced the liberal arts programs as part of the subjects in foreign languages and art history that will lead to a degree of Bachelor in Fine Arts and this made University of Santo Tomas the first Philippine art school. Edades invited Galo B. Ocampo and Carlos "Botong" Francisco to teach in the university as professor artists. The three piloted the growth of mural painting in the Philippines and would collectively be known as the astounding "Triumvirate". When he retired from teaching he was recognized as an outstanding "visionary, teacher and artist and was conferred honoris causa of Doctor of Fine Arts. Among his works were: * The artist and the Model * Portrait of the Professor * Japanese Girl * Mother and Daughter * The Wrestlers * Poinsettia Girl The poet of Angono Carlos "Botong" Francisco revived the forgotten art of mural painting. He was linked with the "modernist" artist and also turned the rubbish of the historic past into glowing records of legendary courage of the

ancestors. Francisco's trademark utilizing lush tropical sense of color and faith in folk values made him known by the townspeople of Angono. Major works of Carlos "Botong" Francisco include: * Portrait of Purita * The Invasion of Limahong * Serenade * Muslim Betrothal * Blood Compact * First Mass at Limasawa * The Martyrdom of Rizal * Bayanihan * Magpupukot * Fiesta * Bayanihan sa Bukid * Sandugo

Fernando Amorsolo
From Wikipedia, the free encyclopedia

Fernando Amorsolo

Birth name

Fernando Amorsolo

Born

May 30, 1892 Paco, Manila, Spanish East Indies(now Philippines)

Died

April 24, 1972 (aged 79) Manila, Philippines

Nationality

Filipino

Field

Painting

Training

Liceo de Manila, University of the Philippines, Real Academia de Bellas Artes de San Fernando

Works

See below

Patrons

Enrique Zobel

Influenced by

Joaqun Sorolla and Ignacio Zuloaga, Spanish impressionists.

Awards

National Artist of the Philippines, 1972 (posthumously)

Fernando Amorsolo y Cueto (May 30, 1892 April 24, 1972) is one of the most important artists in the history of painting in thePhilippines.[1] Amorsolo was a portraitist and painter of rural Philippine landscapes. He is popularly known for his craftsmanship and mastery in the use of light. Born in Paco, Manila, he earned a degree from the Liceo de Manila Art School in 1909.[2][3]
Contents
[hide]

1 Biography

o o

1.1 Formative years 1.2 Marriage and Issue

2 Style and techniques

o o o o

2.1 Women and landscapes 2.2 Sketches 2.3 Historical paintings and portraits 2.4 World War II-era works

3 Critical evaluation 4 Legacy

4.1 Amorsolo paintings in the art market

5 Major works 6 Awards and achievements

6.1 Major exhibitions

7 See also 8 References 9 External links

[edit]Biography [edit]Formative

years

Fernando Amorsolo was born on May 30, 1892 in the Paco neighborhood, when Manila was still under Spanish sovereignty, to Pedro Amorsolo, a book keeper, and Bonifacia Amorsolo ne Cueto. Amorsolo spent his childhood in Daet, Camarines Norte, where he studied in a public school and was tutored at home in Spanish language reading and writing. After his father's death, Amorsolo and his family moved to Manila to live with Don Fabian de la Rosa, his mother's cousin and a Philippine painter. At the age of 13, Amorsolo became an apprentice to De la Rosa, who would eventually become the advocate and guide to Amorsolo's

painting career. During this time, Amorsolo's mother embroidered to earn money, while Amorsolo helped by selling water color postcards to a local bookstore for ten centavos each. Amorsolo's brother, Pablo Amorsolo, was also a painter. Amorsolo's first success as a young painter came in 1908, when his painting Leyendo el peridico took second place at the Bazar Escolta, a contest organized by the Asociacion Internacional de Artistas. Between 1909 and 1914, Amorsolo enrolled at the Art School of the Liceo de Manila, where he earned honors for his paintings and drawings.

Antipolo by Fernando Amorsolo, depicting Filipinos celebrating a town fiesta.

After graduating from the Liceo, he entered the University of the Philippines' School of Fine Arts, where De la Rosa worked at the time. During college, Fernando Amorsolo's primary influences were the Spanish people court painter Diego Velzquez, John Singer Sargent, Anders Zorn, Claude Monet, Pierre-Auguste Renoir, but mostly his contemporary Spanish masters Joaqun Sorolla Bastida and Ignacio Zuloaga. Amorsolo's most notable work as a student at the Liceo was his painting of a young man and a young woman in a garden, which won him the first prize in the art school exhibition during his graduation year.To make money during school, Amorsolo joined competitions and did illustrations for various Philippine publications, including Severino Reyes first novel in Tagalog language, Parusa ng Diyos ("Punishment of God"), Iigo Ed. Regalado's Madaling Araw ("Dawn"), as well as illustrations for editions of the Pasion. Amorsolo graduated with medals from the University of the Philippines in 1914. After graduating from the University of the Philippines, Amorsolo worked as a draftsman for the Bureau of Public Works, as a chief artist at the Pacific Commercial Company, and as a part-time instructor at the University of the Philippines (where he would work for 38 years). After three years as an instructor and commercial artist, Amorsolo was given a grant to study at theAcademia de San Fernando in Madrid, Spain by Filipino businessman Enrique Zobel de Ayala. During his seven months in Spain, Amorsolo sketched at museums and along the streets of Madrid, experimenting with the use of light and color.Through De Ayala's grant, Amorsolo was also able to visit New York City, where he encountered postwar impressionism and cubism, which would be major influences on his work. Amorsolo set up his own studio upon his return to Manila and painted prodigiously during the 1920s and the 1930s. His "Rice Planting" (1922), which appeared on posters and tourist brochures, became one of the most popular images of the Commonwealth of the Philippines. Beginning in the 1930s, Amorsolo's work was exhibited widely both in the Philippines and abroad. His bright,optimistic, pastoral images set the tone for Philippine painting before World War II . Except for his darker World War II-era paintings, Amorsolo painted quiet and peaceful scenes throughout his career.

Amorsolo was sought after by influential Filipinos including Luis Araneta, Antonio Araneta and Jorge B. Vargas. Amorsolo also became the favourite Philippine artist of United States officials and visitors to the country. Due to his popularity, Amorsolo had to resort to photographing his works and pasted and mounted them in an album. Prospective patrons could then choose from this catalogue of his works. Amorsolo did not create exact replicas of his trademark themes; he recreated the paintings by varying some elements. His works later appeared on the cover and pages of children textbooks, in novels, in commercial designs, in cartoons and illustrations for the Philippine publications such The Independent, Philippine Magazine, Telembang, El Renacimiento Filipino, and Excelsior. He was the director of the University of the Philippine's College of Fine Arts from 1938 to 1952. During the 1950s until his death in 1972, Amorsolo averaged to finishing 10 paintings a month. However, during his later years, diabetes, cataracts, arthritis, headaches, dizziness and the death of two sons affected the execution of his works. Amorsolo underwent a cataract operation when he was 70 years old, a surgery that did not impede him from drawing and painting. Two months after being confined at the St. Luke's Hospital in Manila, Amorsolo died of heart failure at the age of 79 on April 24, 1972 . Four days after his death, Amorsolo was honoured as the first National Artist in Painting at the Cultural Center of the Philippines by then President Ferdinand Marcos. Amorsolo was a close friend of the Philippine sculptor Guillermo Tolentino, the creator of the Caloocan City monument to the patriot Andres Bonifacio.

[edit]Marriage

and Issue

During his lifetime, Amorsolo was married twice and had 14 children. In 1916, he married Salud Jorge, with whom he had six children. After Jorge's death in 1931, Amorsolo married Maria del Carmen Zaragoza, with whom he had eight children. Among her daughters are Sylvia Amorsolo Lazo and Luz Amorsolo. Five of Amorsolo's children became painters themselves.

[edit]Style

and techniques

A typical Filipina country woman as portrayed by Amorsolo. This painting also demonstrates his characteristic backlighting technique.

[edit]Women

and landscapes

Amorsolo is best known for his illuminated landscapes,[4] which often portrayed traditional Filipino customs, culture, fiestas and occupations. His pastoral works presented "an imagined sense of nationhood in counterpoint to American colonial rule" and were important to the formation of Filipino national identity.[1]

Sketch of a woman, whose unfinished style is representative of Amorsolo's sketching.

He was educated in the classical tradition and aimed "to achieve his Philippine version of the Greek ideal for the human form."[5] In his paintings of Filipina women, Amorsolo rejected Western ideals of beauty in favor of Filipino ideals [6] and was fond of basing the faces of his subjects on members of his family.[7] "[The women I paint should have] a rounded face, not of the oval type often presented to us in newspapers and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked. ... So the ideal Filipina beauty should not necessarily be white complexioned, nor of the dark brown color of the typical Malayan, but of the clear skin or fresh colored type which we often witness when we met a blushing girl." Fernando Amorsolo[6] Amorsolo used natural light in his paintings and developed the backlighting technique, which became his artistic trademark and his greatest contribution to Philippine painting.[2][3][8] In a typical Amorsolo painting, figures are outlined against a characteristic glow, and intense light on one part of the canvas highlights nearby details. [3] Philippine sunlight was a constant feature of Amorsolo's work; he is believed to have painted only one rainy-day scene.[3]

[edit]Sketches
Amorsolo was an incessant sketch artist,[6] often drawing sketches at his home, at Luneta Park, and in the countryside.[7] He drew the people he saw around him, from farmers to city-dwellers coping with the Japanese occupation.[6] Amorsolo's impressionistic tendencies, which may be seen in his paintings as well, were at their height in his sketches. [6] His figures were not completely finished but were mere "suggestions" of the image.[6]

[edit]Historical

paintings and portraits

Amorsolo also painted a series of historical paintings on pre-Colonial and Spanish Colonization events. Amorsolo's Making of the Philippine Flag, in particular, was widely reproduced.[9]His The First Baptism in the Philippines required numerous detailed sketches and colored studies of its elements.[9] These diverse elements were meticulously and carefully set by the artist before being transferred to the final canvas.[9] For his pre-colonial and 16th-century depiction of the Philippines, Amorsolo referred to the written accounts of Antonio Pigafetta, other available reading materials, and visual sources.[9] He consulted with the Philippine scholars of the time, H. Pardo de Tavera and Epifanio de los Santos.[9] Amorsolo also painted oil portraits of Philippine General Emilio Aguinaldo, Philippine presidents, and other prominent Filipino individuals such as Don ALfredo Jacob and Dona Pura Garchitorena Toral, a member of the prominent Familia Garchitorena of Camarines Sur. He also painted the wedding picture of Don Mariano Garchitorena and Dona Caridad Pamintuan of Pampanga. He also did a portrait of US Senator Warren Grant Magnuson (19051989), of the Democratic Party from Washington, whom the Warren G. Magnuson Health Sciences Building at the University of Washington and the Warren G. Magnuson Clinical Center at the National Institutes of Health in Bethesda, Maryland are named after.

Detail from Fernando Amorsolo's 1945Defence of a Filipina Woman's Honour, which is representative of Amorsolo's World War II-era paintings. Here, a Filipino man defends a woman, either his wife or daughter, from being raped by an unseen Japanese soldier. Note the Japanese military cap at the man's foot

[edit]World

War II-era works

After the onset of World War II, Amorsolo's typical pastoral scenes were replaced by the depictions of a war-torn nation. During the Japanese occupation of the Philippines during World War II, Amorsolo spent his days at his home near the Japanese garrison, where he sketched war scenes from the house's windows or rooftop.[7]

During the war, he documented the destruction of many landmarks in Manila and the pain, tragedy and death experienced by Filipino people, with his subjects including "women mourning their dead husbands, files of people with pushcarts and makeshift bags leaving a dark burning city tinged with red from fire and blood."[9] Amorsolo frequently portrayed the lives and suffering of Filipina women during World War II. Other World War II-era paintings by Amorsolo include a portrait in absentia of General Douglas MacArthur as well as self-portraits and paintings of Japanese occupation soldiers.[3] In 1948, Amorsolo's wartime paintings were exhibited at the Malacaang Presidential Palace.[3]

[edit]Critical

evaluation

Amorsolo's supporters consider his portrayals of the countryside as "the true reflections of the Filipino Soul." [5] Amorsolo has been accused, however, of succumbing to commercialism and merely producing souvenir paintings for American soldiers.[5]Critic Francisco Arcellana wrote in 1948 that Amorsolo's paintings "have nothing to say" and that they were not hard to understand because "there is nothing to understand."[5] Critics have criticized Amorsolo's portraits of Philippine Commonwealth personalities, his large, mid-career anecdotal works, and his large historical paintings.[5] Of the latter, critics have said that his "artistic temperament was simply not suited to generating the sense of dramatic tension necessary for such works." [5] Another critic, however, while noting that most of Amorsolo's estimated ten thousand works were not worthy of his talent, argues that Amorsolo's oeuvre should nonetheless be judged by his best works instead of his worst. [5] Amorsolo's small landscapes, especially those of his early career, have been judged as his best works, "hold[ing] well together plastically." [5] Amorsolo may "be considered a master of the Philippine landscape as landscape, even outranking Luna and Hidalgo who also did some Philippine landscapes of the same measurements."[5]

[edit]Legacy

Amorsolo's grave in Marikina City

The volume of paintings, sketches and studies of Amorsolo is believed to have reached more than 10,000 pieces. Amorsolo was an important influence on contemporary Filipino art and artists, even beyond the so-called "Amorsolo school."[5] Amorsolo's influence can be seen in many landscape paintings by Filipino artists, including early landscape paintings by abstract painter Federico Aguilar Alcuaz.[5]

In 2003, Amorsolo's children founded the Fernando C. Amorsolo Art Foundation, which is dedicated to preserving Fernando Amorsolo's legacy, promoting his style and vision, and preserving a national heritage through the conservation and promotion of his works.[10]

[edit]Amorsolo

paintings in the art market

At a 2001 auction in Wellesley, Massachusetts, two original 1950s paintings by Amorsolo, The Cockfight and Resting Under the Trees, were bought by a New Jersey collector for $36,000 and $31,500, respectively.[11] During a 2002 episode of Antiques Roadshow, a Sotheby's antiques appraiser estimated that an attendee's signed 1945 rural landscape painting by Amorsolo could fetch between $30,000 and $50,000 at auction.[12] At a 1996 Christie's auction, Amorsolo's The Marketplace went for $174,000.[13] In April 2002, Portrait of Fernanda De Jesus was bought for US$ 377,947. On November 30, 2009, the Family Gathering Fruit sold for USD 77,257 at Christie's. On December 6, 2009, Fruit Gatherer was auctioned off in Maryland, in record-breaking manner, topping 19th and 20th century European and American paintings. In May 2010, the highest priced Amorsolo painting was auctioned off at Christie's for about US$ 440,000. In 2010, South East Asian Fine Art had an increasing demand and so prices of Filipino Old Masters investment pieces escalated and continue to escalate as the western world starts embracing Asian Art. Demand for Amorsolo's works plays a vital part of this emerging global demands. Certified Amorsolo works are not readily available in the market and so art investors hire dealers who have direct access to these works. These independent agents could provide last bid prices vis-a-vis competitive bidding in Sotheby's and Christie's. They also have an excellent network. They know existing private collectors, museums and galleries that can provide authenticated and certified works by the Artists and additional certifications from duly recognized experts can be attained for additional fees. Private offices such as "T1W Masters Arts" offer this service to pre-qualified investors.

[edit]Major

works

Major works by Amorsolo include:[8]

Afternoon Meal of the Workers (Noonday Meal of the Rice Workers) (1939) Assassination of Governor Bustamante Bataan The Bombing of the Intendencia (1942) The Building of Intramuros Burning of the Idol The Burning of Manila (1946) El Ciego (1928) The Conversion of the Filipinos (1931) Corner of Hell Dalagang Bukid (1936) Defense of a Filipina Woman's Honor (1945)

The First Mass in the Philippines Fruit Gatherer (1950) Maiden in a Stream (1921) Making of the Philippine Flag The Mestiza (1943) My Wife, Salud (1920) One Casualty Our Lady of Light (1950) Planting Rice (1946) Princess Urduja The Rape of Manila (1942) Rice Planting (1922) Sale of Panay

La destruccion de Manila por los salvajes japoneses (The Destruction of Manila by the Savage

Japanese) Early Filipino State Wedding Early Sulu Wedding The Explosion (1944) The First Baptism in the Philippines

Sikatuna

Sunday Morning Going To Town (1958

US Senator Warren Magnuson Oil Por Traders El Violinista (The Violinist)

[edit]Awards

and achievements

1908 2nd Prize, Bazar Escolta (Asocacion Internacional de Artistas), for Levendo Periodico 1922 1st Prize, Commercial and Industrial Fair in the Manila Carnival 1929 1st Prize, New York's World Fair, for Afternoon Meal of Rice Workers (also known as Noonday Meal of the Rice Workers)

1940 Outstanding University of the Philippines Alumnus Award 1959 Gold Medal, UNESCO National Commission 1961 Rizal Pro Patria Award 1961 Honorary Doctorate in the Humanities, from the Far Eastern University 1963 Diploma of Merit from the University of the Philippines 1963 Patnubay ng Sining at Kalinangan Award, from the City of Manila 1963 Republic Cultural Heritage Award 1972 Gawad CCP para sa Sining, from the Cultural Center of the Philippines[8]

In 1972, Fernando Amorsolo became the first Filipino to be distinguished as the Philippine's National Artist in Painting. He was named as the "Grand Old Man of Philippine Art" during theinauguration of the Manila Hilton's art center, where his paintings were exhibited on January 23, 1969.

[edit]Major

exhibitions

Outside the Philippines, his exhibitions were held in Belgium, at the Exposicion de Panama in 1914, at a one-man show at the Grand Central Art Galleries in New York City in 1925, and at the National Museum in Herran on November 6, 1948. During the 1931 Paris Exposition, Amorsolo exhibited one of his anecdotal paintings, The Conversion of the Filipinos. Amorsolo's entries at the Exposicion in Panama were a portrait of U.S. President Woodrow Wilson and the piece La Muerte de Socrates. At the 1948 National Museum in Herran, Amorsolo exhibition was sponsored by the Art Association of the Philippines. In 1950, Amorsolo exhibited two more historical paintings, Faith Among the Ruins and Baptism of Rajah Humabon at the Missionary Art Exhibit in Rome. In 1979, Fernando Amorsolo's legacy as a painter was celebrated through an exhibition of his works at the Art Center of the Manila Hilton.[4] His art was also featured in a 2007 exhibition in Havana.[14]

Juan Luna
From Wikipedia, the free encyclopedia

Juan Luna de San Pedro y Novicio

Juan Luna c. 1899

Birth name

Juan Luna y Novicio

Born

October 23, 1857 Badoc, Ilocos Norte, Philippines

Died

December 7, 1899 (aged 42) Hong Kong

Field

Painting, drawing, sculpting

Movement

Romanticism, Realism

Works

Spoliarium, 1884,

The Death of Cleopatra, 1881 El Pacto de Sangre, 1884 La Batalla de Lepanto, 1887 The Parisian Life, 1892 in museums:

National Museum of the Philippines Ayala Museum Metropolitan Museum of Manila Lopez Museum Government Service Insurance System Malacaang Palace

Juan Luna y Novicio (October 23, 1857 December 7, 1899) was an Ilocano Filipino painter, sculptor and a political activist of the Philippine Revolution during the late 19th century. He became one of the first recognized Philippine artists. His winning the gold medal in the 1884 Madrid Exposition of Fine Arts, along with the silver win of fellow Filipino painter Flix Resurreccin Hidalgo, prompted a celebration which was a major highlight in the memoirs of members of the Propaganda Movement, with the fellow Ilustrados toasting to the two painters' good health and citing their win as evidence that Filipinos and Spaniards were equals. Regarded for work done in the manner of the Spanish and French academies of his time, Luna painted literary and historical scenes, some with an underscore of political commentary. His allegorical works were inspired with classical balance, and often showed figures in theatrical poses.
Contents
[hide]

1 Early life 2 Travel abroad 3 As an artist 4 Marriage 5 Final years 6 Paintings and Drawings by Juan Luna 7 See also 8 Publications 9 Notes 10 External links

[edit]Early

life

Juan Luna, self portrait.

Born in the town of Badoc, Ilocos Norte in the northern Philippines, Juan Luna was the third among the seven children of Don Joaquin Luna and Doa Laureana Novicio y Ancheta. In 1861, the Luna family moved to Manila and he went to Ateneo Municipal de Manila where he obtained his Bachelor of Arts degree. He excelled in painting and drawing, and was influenced by his brother, Manuel Luna, who, according to Filipino patriot Jos Rizal, was a better painter than Juan himself. Luna enrolled at Escuela Nautica de Manila (now Philippine Merchant Marine Academy) and became a sailor. He took drawing lessons under the illustrious painting teacher Lorenzo Guerrero of Ermita, Manila. He also enrolled in the Academy of Fine Arts (Academia de Dibujo y Pintura) in Manila where he was influenced and taught how to draw by the Spanish artistAgustin Saez. Unfortunately, Luna's vigorous brush strokes displeased his teacher and Luna was discharged from the Academy. However, Guerrero was impressed by his skill and urged Luna to travel to Spain to further pursue his studies.

[edit]Travel

abroad

The Death of Cleopatra, 1881, Museo del Prado.

In 1877 Manuel and Juan Luna traveled to Europe, where Manuel studied music and Juan painting. Juan entered the Escuela de Bellas Artes de San Fernando, where he befriended the painter Don Alejo Vera. Luna was discontented with the style of teaching in school and decided that it would be much better to work with Vera. Vera brought him to Rome for some of his commissions, and Luna was exposed to the art of theRenaissance painters. It was in 1878 when his artistic talents was established with the opening

of the first art exposition in Madrid which was called the Exposicin Nacional de Bellas Artes (National Demonstration of Beautiful Arts). From then on, Luna became engrossed in painting and produced a collection of paintings that he exhibited in the 1881 Exposition. His La Muerte de Cleopatra (The Death of Cleopatra) won him a silver medal and came in second place. Luna's growing reputation as an artist led to a pensionado (pension) scholarship at 600 pesos annually through the Ayuntamiento of Manila. The condition was that he was obliged to develop a painting which captured the essence of Philippine history which would then become the Ayuntamiento's property.

[edit]As

an artist

Spoliarium, 1884, National Museum of the Philippines.

In 1883 Luna started the painting demanded of him by the Ayuntamiento. In May 1884, he shipped the large canvas of the Spoliarium to Madrid for the year's Exposicin Nacional de Bellas Artes. He was the first recipient of the three gold medals awarded in the exhibition and Luna gained recognition among the connoisseurs and art critics present. On June 25, 1884, Filipino and Spanish nobles organized an event celebrating Luna's win in the exhibition. That evening, Rizal prepared a speech for his friend, addressing the two significant things of his art work, which included the glorification of genius and the grandeur of his artistic skills. Luna developed a friendly relationship with the King of Spain and was later commissioned by the Spanish Senate to paint a large canvas which was called the La Batalla de Lepanto (The Battle of Lepanto). He moved to Paris in 1885 where he opened his own studio and befriended Hidalgo. A year after, he finished the piece El Pacto de Sangre (The Blood Compact) in accordance with the agreement he had with the Ayuntamiento of Manila. Depicted in this piece was the blood compact ceremony between the Datu Sikatuna, one of the lords in Bohol island, and the Spanish conquistador Miguel Lpez de Legazpi. It is now displayed in the Malacaang Palace. He also sent two other paintings in addition to the one required; the second canvas sent to Manila was a portrait of Lpez de Legazpi reconstructed by Luna from his recollection of a similar portrait he saw in the hall of theCabildo, and the third was of Governor-general Ramn Blanco y Erenas. In 1887, Luna once again traveled back to Spain to enter in that year's Exposition two of his pieces, the La Batalla de Lepanto and Rendicin de Granada (Surrender of Granada), which both won in the exhibition. He celebrated his triumph with his friends in Madrid with Graciano Lpez-Jaena delivered Luna a congratulatory speech. Luna's paintings are generally described as being vigorous and dramatic. With its elements of Romanticism, his style shows the influence of Delacroix, Rembrandt, and Daumier.

[edit]Marriage

On December 8, 1886, Luna married Maria de la Paz Pardo de Tavera, a sister of his friend Felix and Trinidad Pardo de Tavera. The couple traveled to Venice and Rome and settled in Paris. They had one son, whom they named Andrs, and a daughter nicknamed Bibi who died in infancy. Luna was fond of painting his wife. However, the jealous Luna frequently accused Paz of having an affair with a certain Monsieur Dussaq. Finally in a fit of jealousy, he killed his wife and mother-in-law and wounded his brother-in-law, Felix, on September 23, 1892. He was arrested and murder charges were filed against him. Luna was acquitted of charges on February 8, 1893, on grounds of temporary insanity; the "unwritten law" at the time forgave men for killing unfaithful wives.[1] He was ordered to pay thePardo de Taveras a sum of one thousand six hundred fifty one francs and eighty three cents, and an additional twenty five francs for postage, in addition to the interest of damages. Five days later, Luna went to Madrid with his brother, Antonio Luna, and his son, Andrs.

[edit]Final

years

In 1891 Luna moved back to the Philippines and traveled to Japan in 1896, returning during the Philippine Revolution of the Cry of Balintawak. Unfortunately, on September 16, 1896, he and his brother Antonio Luna were arrested by Spanish authorities for being involved with the Katipunan rebel army. Despite his imprisonment, Luna was still able to produce a work of art which he gave to a visiting priest. He was pardoned by the Spanish courts on May 27, 1897 and was released from prison and he traveled back to Spain. In 1898, he was appointed by the executive board of the Philippine revolutionary government as a member of the Paris delegation which was working for the diplomatic recognition of the Repblica Filipina (Philippine Republic). In 1899, upon the signing of the Treaty of Paris (1898), Luna was named a member of the delegation to Washington, D.C. to press for the recognition of the Philippine government. He traveled back to the Philippines in December 1899 upon hearing of the murder of his brother Antonio by the Kawit Battalion in Cabanatuan. On December 7, 1899, Luna suffered aheart attack and died there. His remains were buried in Hong Kong and in 1920 were exhumed and kept in Andrs Luna's house, to be later transferred to a niche at the Crypt of the San Agustin Church[disambiguation needed
]

in the Philippines. Five years later, Juan would be reinstated as a world renowned artist

and Peuple et Rois, his last major work, was acclaimed the best entry to the Saint Louis World's Fair in the United States. Unfortunately some of his paintings were destroyed by fire in World War II.

[edit]Paintings

and Drawings by Juan Luna

Bay of Biscay

Chula

Despues del Baile

El Violinista

En el Balcon

Espaa y Filipinas

Ramon Blanco y Erenas

Idilio

Indio Bravo

Jos Rizal

La Bulaquea

La Madrilea (En el Balcon)

La Marquesa de Monte Olivar

Manuel Luna

Mi Hijo Andres

Nena y Tinita

Odalisque

Picnic in Normandy

Puesta del Sol

Self portrait

Spoliarium

Street Flower Vendor

Tampuhan

La Batalla de Lepanto

El Pacto de Sangre

La Muerte de Cleopatra

The Parisian Life

spoliarium

Flix Resurreccin Hidalgo

From Wikipedia, the free encyclopedia

Flix Resurreccin Hidalgo

Self portrait Flix Resurreccin Hidalgo, 1901

Birth name Flix Resurreccin Hidalgo

Born

21 February 1855 Binondo, Manila

Died

13 March 1913 (aged 58) Barcelona, Spain

Nationality

Filipino

Field

Painting, drawing

Movement

Impressionism

Works

Las virgenes Cristianas expuestas al populacho, 1884,La barca de Aqueronte, 1887

in museums:

Metropolitan Museum of Manila Lopez Museum

Flix Resurreccin Hidalgo y Padilla (21 February 1855 - 13 March 1913) was a Filipino artist. He is acknowledged as one of the great Filipino painters of the late 19th century, and is significant in Philippine history for having been an acquaintance and inspiration for members of the Philippine reform movement which included Jos Rizal, Marcelo del Pilar, Mariano Ponce and Graciano Lpez Jaena, although he neither involved himself directly in that movement, nor later associate himself with the First Philippine Republic under Emilio Aguinaldo. His winning the silver medal in the 1884 Madrid Exposition of Fine Arts, along with the gold win of fellow Filipino painter Juan Luna, prompted a celebration which was a major highlight in the memoirs of members of the Philippine reform movement, with Rizal toasting to the two painters' good health and citing their win as evidence that Filipinos and Spaniards were equals.
Contents
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1 Early life and education 2 Life abroad 3 Paintings and Drawings 4 Books 5 Sources

[edit]Early

life and education

Hidalgo was born in Binondo Manila on February 21, 1855. He was the third of seven children of Eduardo Resurreccin Hidalgo and Maria Barbara Padilla. He studied in the University of Santo Tomas. He studied law, which he never finished, received a bacheller en filosifia in March 1871. He was simultaneously enrolled at the Escuela de Dibujo y Pintura. In 1876, he previewed his La banca The Native Boat, Vendadora de lanzones Lanzones Vendor and other paintings at the Teatro Circo de Bilibid before they were sent to the Centennial Exposition in Philadelphia, Pennsylvania of that year. In 1878, he painted the poignant and wellcrafted Los mendigos The Beggars.

[edit]Life

abroad

In 1877, Resurreccion Hidalgo was awarded second place in the contest for best cover design for the de luxe edition of Fr. Manuel Blanco'sFlora de Filipinas ("Plants of the Philippines"). In 1879 he left for Spain as a pensionado in fine arts of the Ayuntamiento of Manila.

Las virgenes Cristianas expuestas al populacho, 1884, Metropolitan Museum of Manila.

His Las virgenes Cristianas expuestas al populacho (The Christian virgins Exposed to the Populace), was awarded the ninth silver medal at the 1884 Exposicin General de Bellas Artes inMadrid. This showed a group of boorish looking males mocking seminaked female Christians, one of whom is seated in the foreground, with head bowed in misery. In the same exposition, Luna'sSpoliarium was awarded a gold medal. In the Exposicin General de las Islas Filipinas in Madrid in 1887, Resurreccin Hidalgo presentedLa barca de Aqueronte ("The Boat of Charon"),1887, and Laguna estigia ("The Styx"), 1887, for which he received a gold medal. La barca was again shown at the Exposition Universelle in Parisand was awarded a silver medal by an international jury. In 1891 it was accorded a diploma of honor at the Exposicin General de Bellas Artes of Barcelona. This painting also received a gold medal in the International Exposition of Fine Arts in Madrid during the commemoration of the 400th anniversary of the discovery of America.

La Barca de Aqueronte, 1887, Museo Nacional de Pintura (Madrid).

He exhibited Adios al sol ("Farewell to, the Sun"), 1891 at the Exposicin Internacional de Bellas Artes in Madrid in that year and El crepusculo ("The Dawn"), 1893, at the Universal exposition in Chicago, also in that year. He showed both paintings again at the Exposicin Artistica de Bilbao in August 1894. In the Exposicin Regional de Filipinas in Manila in January 1895, Resurreccin Hidalgo was represented by his paintings done in the grand romantic manner. In April of the same year he exhibited Oedipus y Antigone ("Oedipus and Antigone"), El violinista ("The Violinist"), Cabeza napolitana ("Head of a Neapolitan"), Cabeza del viejo ("Head of an Old Man"), Un religioso ("A Religious"), and others at the Salon at Champs Elysees, Paris. Hidalgo received a gold medal for his overall participation at the Universal Exposition in St. Louis, Missouri in 1904. His El violinista was individually accorded a gold medal. In 1912, he visited his relatives in Manila for six months, after which he hurried back to Paris. His mother, who had not seen him for 30 years, wanted him to be with her in her last days but he had to leave. The following year, Resurreccin Hidalgo died at Sarri, Barcelona where he went to recuperate from failing health. His remains were brought to Manila, where it now lies entombed in the family mausoleum at the Cementerio del Norte.

[edit]Paintings

and Drawings

Laguna Estigia

Las Virgenes Cristianas Expuestas Al Populacho

La Barca de Aqueronte

A lady in the Moonlight, undated, oil on canvas, private collection

After the Typhoon, undated, oilon canvas, private collection

Cottage in Normandy, a study in charcoal

Grove of Trees, a study in charcoal

Grove of Trees, a study in oil

Horse Carriage, undated, oilon canvas, private collection

Interior de una Casa, undated,oil on canvas, private collection

Jarra de Agua, undated, oil on canvas, private collection

La Casa Cerca del Rio, undated, oil on canvas, private collection

La Madre en el Claustro, undated, oil on canvas, private collection

La Marina, 1911, oil on canvas, private collection

Seascape, undated, oil on canvas, private collection

Seascape with Boat, undated,oil on canvas, private collection

Self portrait

Study of Charon for La Barca de Aqueronte

Study of Charon for La Barca de Aqueronte

Study for "El Asesinato del Gobernador Bustamante y su Hijo", undated, oil on canvas, private collection

Una Dama a la Luz de la Luna, undated, oil on canvas, private collection

Village Brittany 1

Village Brittany 2

Primer Estudio de las Jovenes Cristianas, 1884, oil on canvas, Lopez Museum En el Jardin, 1885, oil on canvas, Lopez Museum Woman Holding a Sword (study under Per Pacem et Libertatem), Lopez Museum

Victorio C. Edades (December 13, 1895 - March 7, 1985) is a Filipino painter who was the leader of the revolutionary Thirteen Moderns who engaged their classical compatriots in heated debate over the nature and function of art. He was named a National Artist in 1976.
Contents
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1 Biography 2 Artistic Development 3 The Other Moderns 4 Readings/Resources

[edit]Biography Victorio Edades was born on December 23, 1895 to Hilario and Cecilia Edades. He was the youngest of ten children (six of whom died of smallpox). He grew up in Barrio Bolosan in Dagupan, Pangasinan. His artistic ability surfaced during his early years. By seventh grade, his teachers were so impressed with him that he was dubbed apprentice teacher in his art class. He was also an achiever from the very beginning, having won awards in school debates and writing competitions. After high school, Edades and his friends traveled to the United States. Before enrolling in Seattle, Edades incidentally made a detour to Alaska and experienced working in a couple of factories. Nonetheless, he moved on to Seattle and enrolled at the University of Washington where he took up architecture and later earned a Master of Fine Arts in Painting. The significant event that stirred Edades, and made him as what he is known now, was his encounter with the traveling exhibition from the New York Armory Hall. This art show presented modern European artists such as Czanne, Matisse, Picasso and the Surrealists. His growing appreciation to what he saw veered him away from the conservative Impressionistic and Realistic schools and thus he began to paint in the modern manner. The two former schools of thought were inclined more towards idyllic subject matter, and require a mastery of refined detailing. What attracted Edades to the modernist movement was its principle to go beyond the idealistic exteriors propagated by Impressionism and Realism. Modernist thought encourages experimentation in artistic expression and allows the artist to present reality as he sees it in his own way. During his journey to America, he participated in art competitions, one of which was the Annual Exhibition of North American Artists. His entry The Sketch (1927) won second prize. When he returned to the Philippines in 1928, he saw that the state of art was practically dead. Paintings he saw dealt with similar themes and were done in a limited technique that mostly followed Amorsolos. He recognized that there was no creativity whatsoever, and that the artists of that time were merely copying each other. So in December, Edades bravely mounted a one-man show at the Philippine Columbia Club in Ermita to introduce to the masses what his modern art was all about. He showed thirty paintings, including those that won acclaim in America. It was a distinguished exhibit, for the Filipino art circle was suddenly shaken by what this young man from Pangasinan had learned from his studies abroad. Viewers and critics were apparently shocked and not one painting was sold. Edades helped organized the University of Sto. Tomas Department of Architecture in 1930 and was its acting head. In 1935, he was appointed as Director of the UST College of Architecture and Fine Arts, which he organized under the wing of Architecture. He was guided by the existing American curricula when he made the Fine Arts curriculum for UST. Alongside standard subjects like drawing, painting and composition, he also included Western and Oriental art history, foreign languages and optional science subjects such as zoology and botany. Because of Edades, UST became the forerunner of Modern Art, while the University of the Philippines remained the precursor of conservative art.

By 1938, he opened up the Atelier of Modern Art at the M. H. Del Pilar, Manila together with Diosdado Lorenzo and Galo Ocampo. He also organized the School of Design with Juan Nakpil in 1940. While espousing his beliefs and ideas on Modern Art, Edades sparked a debate between modern and academic (classical) art. The Herald Mid-Week Magazine, Sunday Times Magazine and This Week contained the issues addressed by him and Guillermo Tolentino, who spoke up for the side of the Conservatives. Another development in the art scene, which was spearheaded by Edades, was the formation of the Thirteen Moderns. The list included Edades, Carlos Francisco, Galo Ocampo, Lorenzo, Vicente Manansala, HR Ocampo, Anita Magasaysay, Cesar Legaspi, Demetrio Diego, Ricarte Purugganan, Jose Pardo, Bonifacio Cristobal and Arsenio Capili. Coming up with this list was an attempt to form a cohesive unit of artists who were in search of a modern style. Other achievements by Edades included him receiving the Pro Partia award during the Rizal Centennial Celebration in 1961. In 1964, Edades was given the Araw ng Maynila Award in Painting. In 1976, he was conferred the National Artist Award in Painting. On February 12, 1977, UST conferred on Edades the degree of Doctor of Fine Arts, Honoris Causa. Edades retired to Davao City with his family. There he taught for a time at the Philippine Womens College and resumed his career as an artist. He died on March 7, 1985. [edit]Artistic

Development

Early styles after his stint in architecture already show his inclination towards modernist technique. In The Market and The Picnic, his choice of subject matter do not take flight from pleasant daily scenery; yet his brush strokes and observance of non-proportionality in the figures made his teachers consider him very ambitious. His earlier works already showed his affinity towards the style of Czanne and other Post-Impressionists. The height of his artistic development is his dynamic entry into Philippine art in 1928 with his solo exhibit at the Philippine Columbia Club. Here he mounted his most renowned work, The Builders. This work is the sum total of all the other pieces included in the show. They are a far cry from the works of the Amorsolo and the Classicists who painted bright cheery scenes of flawless Filipinos and their idealized daily routines. Edades, on the other hand, presented figures in muddy earth colors yellow ochres and raw sienna accented by bold black contours. Subjects are distorted figures (those whose proportions defy classical measure), and Edades brush strokes are agitated and harsh. The choice of his subject also caused quite a stir to those who viewed the show. He portrayed tough, dirty construction laborers and simple folk wrestling in dung and dust. Even his nudes are nothing like Amorsolos portrayal of the Filipina at her best. With the uproar Edades ideas raised, he knew that he cannot make a living out by merely painting what he wished. So he got by producing commissioned works, particularly murals. He did murals for prominent individuals (like Juan Nakpil) and institutions. His later works are said to be flatter. His portraits and genre paintings in Davao are not seen to be as heavy or solid as his earlier phase with The Builders. From Czanne, Edades grew more interested in the style of Utamaro of Japan and other artists whose charm is in color rather than solidity. By introducing modern ideas into the Philippine art scene, Victorio Edades managed to destroy the conventions of domestic art, and also got rid of the clichd ideology he believed stunted the development of Philippine art. His defiance to what the Conservatives structured as art was a conscious call for real artistic expression. He attested that art is ever the expression of mans emotion, and not a mere photographic likeness of nature. Thus to express his individual emotion, the artist is privileged to create in that distinctive form that best interprets his own experience. And the distortion of plastic elements of art such as line, mass and color is one of the many ways of expressing ones rhythmic form. That was the reason why his disproportionate figures are made that way for the sake of composition. Through his continuous propagation of modern art as shown in his works and teachings, Edades proved that modernists were not fooling people as Guillermo Tolentino asserted. Dialectically, Edades explained that Modern Art is not antiClassicist. He said, From the technical point of view, Modern Art is an outgrowth of Classical Art. Modern Art is the interpretation of the Classical concept conditioned by the artists new experience with the aid of improved means of

aesthetic expression. Not conforming to the academic perception of art, he made art available to the common man. Through his determination to stand by his ideology, he became a bridge between the past and the present.

the sketch

The Sketch, Victorio C. Edades, 1928, Oil on canvas, 96 x 117 cm