Vicente Silva Manansala (January 22, 1910 - August 22, 1981) Was A

3.
Vicente Silva Manansala (January 22, 1910 August 22, 1981) was a
Filipino cubist painter and illustrator.
Manansala was born in Macabebe, Pampanga. From 1926 to 1930, he studied at the U.P. School
of Fine Arts. In 1949, Manansala received a six-month grant by UNESCO to study at the cole des
Beaux-Arts in Banff and Montreal, Canada. In 1950, he received a nine-month scholarship to study
at the cole des Beaux-Arts in Paris by the French government. [1]
Marker (Macabebe, Pampanga Town hall.
Manansala's canvases were described as masterpieces that brought the cultures of the barrio and
the city together. His Madonna of the Slums is a portrayal of a mother and child from the countryside
who became urban shanty residents once in the city. In hisJeepneys, Manansala combined the
elements of provincial folk culture with the congestion issues of the city.
Manansala developed transparent cubism, wherein the "delicate tones, shapes, and patterns of
figure and environment are masterfully superimposed". A fine example of Manansala using this
"transparent and translucent" technique is his composition,Kalabaw (Carabao).
Vicente Manansala, a National Artist of the Philippines in Visual Arts, was a direct influence to his
fellow Filipino neo-realists: Malang, Angelito Antonio, Norma Belleza and Manuel Baldemor.
[1]
TheHonolulu Museum of Art, the Lopez Memorial Museum (Manila), the Philippine Center (New
York City), the Singapore Art Museum and Holy Angel University (Angeles City, Philippines) are
among the public collections holding work by Vicente Manansala. Holy Angel University recently
opened a section of its museum called The Vicente Manansala Collection, holding most of the estate
left by the artist.
He died on August 22, 1981 in Manila, Philippines due to cancer.
Artworks:
Madonna of the
Slums
2. Juan Novicio Luna (October 23, 1857 December 7, 1899) was

a 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 to the brotherhood between Spain and the
Philippines.
Regarded for work done in the manner of the Spanish, Italian 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.
Early life:
Born in the town of Badoc, Ilocos Norte in the northern Philippines, Juan N.
Luna was the third among the seven children of Joaqun Posadas Luna and
Laureana Ancheta Novicio-Luna. 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 N. 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 teacherLorenzo 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 artist Agustin 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 Cubao to further pursue his work.
As an artist:
Juan Luna in his Paris studio.

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).[3] 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.[4] It is now displayed in the Malacaan 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 the Cabildo, 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 LpezJaena 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.
Artworks:
Spolariu
m
Blood
Compact
Humanities I Michael A. Jadulco BSIT-1E

Autobiography of some Filipino Painters and their Artworks
1. Fernando Cueto Amorsolo (May 30, 1892 April 24, 1972) is one of the
most important artists in the history of painting in the Philippines. 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.
Don Fabin 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
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 wora 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 Univeajor 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 theCommonwealth 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 catalog 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 Andrs Bonifacio.
Artworks:
Planting
Rice
Fruit
Pickers

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3.

Marker (Macabebe, Pampanga Town hall.

2. Juan Novicio Luna (October 23, 1857 December 7, 1899) was

Juan Luna in his Paris studio.

Humanities I Michael A. Jadulco BSIT-1E

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

publications such The Independent, Philippine Magazine, Telembang, El

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