National Artist for Painting (1976)

(December 23, 1895 – March 7, 1985)

According to National Commission for Culture and the Arts, Painting distorted human
figures in rough, bold impasto strokes, and standing tall and singular in his advocacy
and practice of what he believes is the creative art, Victorio C. Edades emerged as the
“Father of Modern Philippine Painting”. Unlike, Amorsolo’s bright, sunny, cheerful hues,
Edades’ colors were dark and somber with subject matter or themes depicting laborers,
factory workers or the simple folk in all their dirt, sweat and grime. In the 1930s, Edades
taught at the University of Santos Tomas and became dean of its Department of
Architecture where he stayed for three full decades. It was during this time that he
introduced a liberal arts program that offers subjects as art history and foreign
languages that will lead to a Bachelor’s degree in Fine Arts. This development brought
about a first in Philippine education since art schools then were vocational schools.

It was also the time that Edades invited Carlos “Botong” Francisco and Galo B. Ocampo
to become professor artists for the university. The three, who would later be known as
the formidable “Triumvirate”, led the growth of mural painting in the country. Finally
retiring from teaching at age 70, the university conferred on Edades the degree of
Doctor of Fine Arts, honoris causa, for being an outstanding “visionary, teacher and
artist.”

(NCCA, 2015)

Edades traveled to the United States and enrolled at the University of Washington in Seattle, taking up
architecture and later earned a Master of Fine Arts in Painting.

His desire to paint in modern manner developed after he attended a travel art exhibition in the U.S.,
featuring modern European artists such as Cezanne, Matisse, Picasso and the Surrealists.

Modernist thought encouraged him to experiment in artistic expression and to present reality as he saw
it in his own way.

Hence, when Edades returned to the Philippines in 1928, he conducted a one-man exhibit in Ermita,
showing what modern art was all about, with his 30 paintings, including those which won acclaim in
America. His Builders is considered a masterpiece.

https://kahimyang.com/kauswagan/articles/841/today-in-philippine-history-december-23-1895-
victorio-edades-was-born-in-dagupan-pangasinan

While studying the theory and technique of painting from European perspectives, Edades
realized America was a young country, like the Philippines. It had no culture it could call its own yet.
Edades even noted that when he was studying Architecture, he was learning the French principle of
design.

During the course of his study, he met Jean Carrot, who later posed for his paintings. They fell in love
and got married after he earned his master's in 1928. They returned to the Philippines shortly.

Edades loved his country so much and wanted to contribute here what he learned in America. But
during that period, there were no galleries and no organized art associations in Manila. He found little
encouragement to spur public interest in the arts. Painting was considered a pastime, not a full-time
profession.

Edades defied such conditions in 1929 when he exhibited his artworks at the Philippine Columbian
Club in Ermita, Manila, defending his right to self-expression. His style at the time was neo-
impressionistic, like Paul Gauguin (1848-1903) and Cezanne. His masterpiece, "The Builders," was
characterized by strong composition and dark colors.

Edades introduced modern art to the Philippines when it was still largely a conservative society. The
public was not ready to appreciate his works, and not one of his paintings was sold.

He wrote his personal account of the beginnings of modern art in the article "The Last 30 Years of
Filipino Art," published in Philippine Magazine in 1956. "The history of Filipino art during the last 30
years is strictly the history of Modern Art in the Philippines," he wrote.

" ...When I was a senior student in the University of Washington Fine Arts Department in 1925, I was
admitted into the Seattle Fine Arts Society through the recommendation of my professor-Walter F.
Isaacs. The following year, I took part in the Pacific Northwest Art Competition conducted by the
Society, in which my painting titled 'The Sketch' won the First Honorable Mention, the only award
given besides First Prize, which was won by one of my professors."

He wrote that when he exhibited 'The Sketch' at the Philippine Columbian Club, there was an uproar.
Classically trained and academe-based artists condemned the work and others like it. It was the
start of the clash between the classicists and the modernists.

Edades ended his article: "It [the exhibit] served as the opening salvo for the battle between the
Conservatives and the Moderns which has continued ever since and which will continue till the
Moderns win in the end."

At Santo Tomas

Perhaps because he had met the Dominicans in Pangasinan (the province was the Dominicans'
mission post), Edades conducted the modernist battle largely from the Dominican-run University of
Santo Tomas, whose School of Fine Arts he helped establish in 1935.

Edades taught at UST for three decades, and was joined by the likes of Carlos "Botong" Francisco,
Galo B. Ocampo, Diosdado Lorenzo, Antonio Garcia Llamas, Vicente Manansala and J. Elizalde
Navarro.

It was at the time when the UST School of Fine Arts became the seat of modern art.

In 1934, architect Juan Nakpil invited Edades to paint a mural for the lobby of Capitol Theater on
Escolta, Manila. Edades sought the help of the then 22-year-old "Botong" Francisco, who, in turn,
invited surrealist and fellow UP School of Fine Arts classmate Galo Ocampo.

They all worked on the composition, while Edades provided the initial sketches. Titled "The Rising
Philippines," it was among the first significant murals in the country.

Modern art began to flourish but modern artists still were working on their own. They needed to work
as a group to make modern art significant.

Because he was the foremost modernist advocate, Edades led the so-called Thirteen Moderns. The
group included Edades, Francisco, Lorenzo, Manansala, Galo B. Ocampo, H.R. Ocampo, Anita
Magsaysay, Cesar Legaspi, Demetrio Diego, Ricarte Purugganan, Jos S. Pardo, Bonifacio Cristobal
and Arsenio Capili.

Though World War II might have aborted collective attempts to promote modern art more
aggressively, the Thirteen Moderns eventually shone individually in the postwar era.

Powerful pedagogue

Edades, whose educational background made him one of the most progressive artists of his time,
stressed free expression more than anything else, and "not to be afraid of making mistakes."

He once wondered why I wasn't a regular student, and persuaded me to finish my bachelor's degree
in Fine Arts. I replied: "I am studying Fine Arts and painting, but my foremost goal is to become a
painter one day. If that dream doesn't come true, it's no use having a degree."

Edades understood my position and was very supportive.

Since that conversation, I noticed that Edades was spending more time in his life painting class,
teaching me all I needed to know. And he saw that I was doing better.

Whenever he found a good-looking model, he would invite some of my classmates and me to his
home on Pilar Street near Shaw Boulevard, Mandaluyong City, for a painting session. I learned so
much from his Life Painting class.

In March 1955, I was inspired to join the life-painting competition in UST, where I won the honorable
mention.

In the same year, in the Shell National Art Competition, my oil painting "Vista por la Noche" won a
special prize. The painting was featured in the company's 1956 calendar, and was included in their
art collection.

That competition had two separate categories for modern and conservative art. Excluding the
special prize, there were three different winners for each category.

On Aug. 5 later that year, the works were exhibited at the Northern Motors Showroom, and First
Lady Luz Magsaysay sponsored the awarding ceremony. Of the seven winners, five were students
of Edades at UST. He himself posted the newspaper clippings of the results of the Shell contest on
the bulletin boards.

As an educator, professor Edades did not try to intimidate his students, nor was he very strict with
us. He was committed to his job, and we easily sensed his sincerity. He encouraged his students to
develop their own styles, and didn't force them to adopt his style.

I remember him telling us, "If you are studying painting, you must be patient, so that you can develop
your artistic talent. You must also be sincere with your work to become successful one day."

Edades' skills as an educator proved to be one of his biggest strengths. He encouraged us to gain a
broader sense of history: "Know how art was developed, and at the same time understand music,
literature and philosophy. Do not just limit yourself to one interest or area of study."

He maintained that painting, sculpture and music were only a few of the many manifestations of art.
Art, he insisted, must be part of "all that we touch, see and hear in everyday life."

Edades emphasized that one's painting style usually depended on the painter's background: "Do not
be afraid to change your style, because, as you change your outlook in life, your style will also
change."

He added: "The influence of the Masters is not bad. Let other artists influence you, but don't copy
them. If you just copy others' works, you will not develop as an artist."

Good mentor

I was very fortunate to have him as one of my mentors. Even after so many years since I left UST,
he was always generous in supporting my artistic pursuits.

When I mounted my first one-man exhibit in 1958 at China Art Gallery, Acacia Shopping Lane,
Manila Hotel, Bonifacio Drive, Manila, Edades was there and commended me for the improvement
of my painting techniques.

In 1980, after sending Edades an invitation to my exhibit at ABC Gallery, he wrote back from Davao
to thank me for the invitation, and complimented the color reproduction of one of my paintings.

He wrote: "I admire the delicate color of the lotus petal, which blends very well with the bluish green
leaves and deep cobalt-blue water... I am very happy, indeed, to see your present work to be a great
improvement, and I hope you will continue painting in the years to come."

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