Project

in
Art Painting of
Filipino
Piantors
Submitted by:
 Mary Ann A. Berdida
Grade V-P

National Artist for Painting (1981)

(January 22, 1910 – August 22, 1981)
Vicente Manansala‘s paintings are described as visions of reality teetering on the edge
of abstraction. As a young boy, his talent was revealed through the copies he made of
the Sagrada Familia and his mother’s portrait that he copied from a photograph. After
finishing the fine arts course from the University of the Philippines, he ran away from
home and later found himself at the Philippines Herald as an illustrator. It was there
that Manansala developed close association with Hernando R. Ocampo, Cesar Legaspi,
and Carlos Botong Francisco, the latter being the first he admired most. For
Manansala, Botong was a master of the human figure. Among the masters, Manansala
professes a preference for Cezanne and Picasso whom he says have achieved a balance
of skill and artistry.
He trained at Paris and at Otis School of Drawing in Los Angeles. Manansala believes
that the beauty of art is in the process, in the moment of doing a particular painting,
closely associating it with the act of making love. “The climax is just when it’s really
finished.”
 Mother and Child, 1967
Manansala’s works include A Cluster of Nipa Hut, San Francisco Del
Monte,Banaklaot, I Believe in God, Market Venders, Madonna of the Slums, Still
Life with Green Guitar, Via Crucis, Whirr, Nud

The country had its first National Artist in Fernando C. Amorsolo. The official title
“Grand Old Man of Philippine Art” was bestowed on Amorsolo when the Manila Hilton
inaugurated its art center on January 23, 1969 with an exhibit of a selection of his
works. Returning from his studies abroad in the 1920s, Amorsolo developed the
backlighting technique that became his trademark where figures, a cluster of leaves,
spill of hair, the swell of breast, are seen aglow on canvas. This light, Nick Joaquin
opines, is the rapture of a sensualist utterly in love with the earth, with the Philippine
sun, and is an accurate expression of Amorsolo’s own exuberance. His citation
underscores all his years of creative activity which have “defined and perpetuated a
distinct element of the nation’s artistic and cultural heritage”.
Among others, his major works include the following: Maiden in a Stream(1921)-GSIS
collection; El Ciego (1928)-Central Bank of the Philippines collection; Dalagang
Bukid (1936) – Club Filipino collection; The Mestiza (1943) – National Museum of the
Philippines collection; Planting Rice (1946)-UCPB collection; Sunday Morning Going
to Town (1958)-Ayala Museum Collection.

National Artist for Painting (1976)

(December 23, 1895 – March 7, 1985)
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.”
 The Sketch, 1928
Among his works are The Sketch, The Artist and the Model, Portrait of the
Professor, Japanese Girl, Mother and Daughter, The Wrestlers, and Poinsettia
Girl
 National Artist for Painting (1973)
(November 4, 1912 – March 31, 1969)
Carlos “Botong” Francisco, the poet of Angono, single-handedly revived the forgotten
art of mural and remained its most distinguished practitioner for nearly three decades.
In panels such as those that grace the City Hall of Manila, Francisco turned fragments
of the historic past into vivid records of the legendary courage of the ancestors of his
race. He was invariably linked with the “modernist” artists, forming with Victorio C.
Edades and Galo Ocampo what was then known in the local art circles as “The
Triumvirate”. Botong’s unerring eye for composition, the lush tropical sense of color
and an abiding faith in the folk values typified by the townspeople of Angono became
the hallmark of his art.

Harana, 1957 (Bangko Sentral ng Pilipinas Collection)

His other major works include the following: 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.
Manuel Baldemor is a multi-talented Filipino. He is a painter, sculptor, printmaker,
writer and book illustrator. He hails from the artistic town of Paete, Laguna province
known for its woodcarvers.
No other Filipino painter captures the warmth of Christmas in the Philippines better
than Manuel D. Baldemor. He has contributed more than 24 designs for reproduction
on UNICE’s greeting cards and are distributed worldwide. For 18 straight years,
UNICEF has continuously chosen Baldemor’s work, a remarkable feat considering the
many submissions from all over the world competing for the honor.
Baldemor no longer freezes his character in mere portraits. He imbues life and action
into his art and lets viewers become on with the character in his “Philippine People
Power”, a 2009 epic Mosaic mural installed on 3 x 5 meter wall inside Basilica os St
Therese of the child Jesus in Lisieux France.
The mosaic is signatory of the Philippine experience that is celebrated People Power
and Filipino people bathed in a sea of red and blue symbolizing its National Flag. His
global accomplishments extend even beyond this institution. So far, Baldemor has
held numerous oneman exhibits in museums and galleries not only in the Philippines
but around the world including Seoul, Beijing, Hong Kong, Jakarta, Hanoi, Ho Chi
Minh, Kuala Lumpur, Osaka, Tokyo, Cairo, Teheran, Tel-Aviv, Ankara, Cascais,
Lisbon, Madrid, Santiago, Singapore, Acapulco, Mexico City, Taxco, Munich, Berlin,
Mainz, Dusseldorf, Prague, Bratislava, Vienna, Warsaw, Budapest, Moscow, Bern,
Basel, Amsterdam, The Hague, Brussels, London, Paris, Edinburg, Ottawa, Montreal,
Toronto, Vancouver and New York. He received 24 local and international awards and
grants and has been chosen artist0in-residence in Japan, Israel, Portugal, Estonia,
Singapore, Mexico, Chile and Switzerland.
On a personal level, Manuel D. Baldemor does not exhibit any aura at all of any
superior artistic airs; but rather, conduct himself as quiet, folksy manner. Such is his
humility and selflessness, as chairman of the antituberculosis (TB) seal since 1990 to
present, for their postage stamp campaign. Since nature and the environment have
inspired most of Baldemor’s painting. He designed the SM Supermalls Green Bag as
part of SM’s commitment to promote programs for environmental preservation.

HOMAGE TO THE FILIPINO FAMILY | Manuel Baldemor

In honoring the birth of Christmas, Manuel D. Baldemor recognizes the Holy Family, a
perfect example of the Christian way of life filled with deep faith and true love for all
peoples. We all know the story – how Jesus was born in a manger after Joseph and
Mary journeyed to Bethlehem and couldn’t find an inn with a vacant room. Mary in
her white clothes wrapped the little Child with love, bringing joy to the world
everywhere.
Light up this celebration with yuletide traditions.
HOMAGE TO THE FILIPINO FAMILY serves as inspiration behind the series to show
that Christianity is a universal faith and offers the surest path to hope and spiritual
consciousness
 Born July 24 in Ambalayat, a barrio of the town of Tagudin, Ilocos Sur, the
1946 youngest of five children of Eugenio Lamarrosa, a rice miller, and Eladia
Leal. Nicknamed "Amor" from his second given name, Villamor.

Selected as one of the "Thirteen Painters for the 21st Century" by Sikat
2000
Books. The essay on Lamarroza was weritten by Anthony John R. Riblis.

Held one-man exhibit which broke new ground: "Landscape in Memory" at

the Metropolitan Gallery.
In his essay written for this catalogue, Edgar B. Maranan found it obvious,
looking at Lamarroza's new landscapes, "that while tiny wisps and strips of
whimsical color manage to find their place in the serene topography of his
2001 fields and mountains, the general atmosphere evoked is certainly not of the
pastoral, but one of closely observed quotidian existence in the countryside
or hinterland, detached without being remote, with just the subtlest of
foreboding and even a note of disquiet. There is not the cheery airiness or
radiance of classic impressionism, but rather a more subdued, somber-hued
view of the rural scene, its rotes and its seasons."

2002 Held a special collection of his pattern paintings on the last week of July
(until August 4) at Gallery Nine, SM Megamall. 
In his review of the show, Johnathan Libarios Rondina, writing for the
Philippine Daily Inquirer, contended that "His (Lamarroza's) compositions
have often been described as surreal, but Lamarroza's fields of dreams can
also be viewed as extraterrestrial landscapes, the artist's own private vision
of Eden, an expression of hope and possibilities for a worls that can still be,
 as much as they are remembrances of things of things and places past"

Visited parts of Asia, Europe, United States, and South America, often with
2003
the Tan Family and close friends.

Began his series of "organic" drawings.

2004

"Xandra I" 18" x 12" Pen and Ink 2007