CORRESPONDENCE LEARNING MODULE

HIST 1013- Readings in Philippine History

AY 2021-2022

LESSON: Paintings of Juan Luna and Fernando Amorsolo

Topic: Content and Contextual Analysis of selected primary source which focus on the
topic:
• Paintings of Juan Luna and Fernando Amorsolo

Learning At the end of this module, you are expected to:

Outcomes: 1. Examine the contents of the given primary sources;
2. Distinguish salient points of the given primary sources; and
3. Explain the historical importance of the given primary sources.

LEARNING CONTENT

INTRODUCTION

Do Arts like paintings provide a glimpse of history? Paintings are art and painters paint to
express their thoughts, ideas, and feelings; hence, every painting has its own significance and
meaning. The Philippines is also known for arts especially in paintings.

In this lesson, we are going to discuss the works of the well-renowned Filipino painters who
have contributed so much to Philippine history, namely Juan Luna and Fernando Amorsolo. Both of
them are remarkable artists of different styles and techniques in relaying their subjective energies
through their masterpieces. The paintings of Juan Luna and Fernando Amorsolo had reflected the life
of Filipinos during the latter part of the Spanish Colonization, the middle years of American rule, and
Japanese occupation in our country that arouse the sense of nationalism and showcase the
Philippine Culture as well as the greatness of Filipinos in arts.

LESSON PROPER

JUAN LUNA'S PAINTINGS

AUTHOR’S BACKGROUND

Juan Luna (October 23, 1857-

December 7, 1899) was known as the “Finest
arts and First International Filipino Painter”.
He was the son Juaquin Luna de San Pedro
y Posadas and Laureana Novicio y Ancheta
that was born on October 23, 1857, in Badoc,
Ilocos Norte. He was influenced to paint by
his brother Manuel who was also a painter.
Juan Luna is considered one of the greatest
Filipino artists in Philippine history with
masterpieces such as Solarium, The Death of
Cleopatra, and Blood Compact. He was a Filipino painter, sculptor, and a political activist of the
Philippine Revolution during the late 19th century. He was one of the first recognized Philippine
artists. His close friendship with National Hero Jose Rizal has sparked Philippine nationalism and

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pride. Juan Luna was mostly known for his works as being dramatic and dynamic, focusing on
romanticism and realism styles of art.

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 Europe and settled in Paris. They had one
son, whom they named Andres and a daughter who died in infancy.

Educational Background
He received his degree in Bachelor of Arts at Ateneo de Manila and enrolled later at Escuela
Nautica de Manila where he became a sailor. This did not stop Luna from his pursuit of developing
his artistic skills. He took lessons under the famous painting teacher Lorenzo Guerrero and also
enrolled at Academia de Dibujo y Pintura under the Spanish artist Agustin Saez.

Luna left for Barcelona in 1877, together with his elder brother Manuel, who was a violinist.
While there, Luna widened his knowledge of the art and he was exposed to the immortal works of the
Renaissance masters. One of his private teachers, Alejo Vera, a famous contemporary painter in
Spain, took Luna to Rome to undertake certain commissions. In 1877, Juan Luna traveled to Europe
to continue his studies and enrolled at Escuela de Bellas Artes de San Fernando. It was in 1881
when he received his first major achievement as an artist and this is through winning a silver medal at
the Nacional de Bellas Artes(National Demonstration of Fine Arts) with his work “The Death of
Cleopatra.” From there, he continued to gain recognition and respect as an artist. Juan Luna kept on
impressing the European and Filipino society through the Nacional de Bellas Artes with outstanding
works such as the “Spolarium” which won gold in 1884 and “Battle at Lepanto” in 1887.

Awards
• Silver Medal for La Muerte de Cleopatra (Death of Cleopatra), Rome 1881
• Silver Palette for Dafinis Y Cloe (Roman Youths), Rome, 1881
• 1st Gold Medal (1st Class) for Sploliarium (Rome, 1884
• Silver Palette with Laurel for Spoliarium (Madrid, 1884)
• 1st Gold Meda (3rd Class) for Spoliarium (Madrid, 1884)
• Diploma of Honor for Las Damas Romanas (Roman Ladies), Paris, 1886
• Diploma of Honor for La Mestiza en Su Tocador (The Mestiza in her Boundier), Venice, 1886
• Gold Medal/Special Award for La Batalla de Lepanto (Paris, 1887)
• Bronze Medal for Hymen, Oh Hymenee (A Roman Wedding) (Venice, 1886)
• Honorary Award for Chiffonier (Paris, 1888)
• Gold Medal (Posthumous Award) for Peuple et Rois (People and Kings), Paris, 1882
• Silver Medal (Posthumous Award for El Pacto de Sangre (The Blood Compact), Paris, 1886
• Silver Medal (Posthumous Award) for Don Miguel Lopez de Legazpi, Paris, 1886

CONTEXTUAL ANALYSIS

The masterpieces of Juan Luna were created during the Spanish Colonization of the
Philippines in the 19th Century and some were created during the midyears of American Rule in the
Philippines.

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CONTENT ANALYSIS

Death of Cleopatra, Rome 1881

The famous painting was a silver medalist or second prize winner during the 1881 National
Exposition of Fine Arts in Madrid. The 1881 Madrid painting contest was Luna's first art exposition.
Because of the exposure, Luna received a pension scholarship at the Ayuntamiento de Manila. After
the painting competition, Luna sold it for 5,000 Spanish pesetas, the highest price for a painting at the
time. As Luna's "graduation work", The Death of Cleopatra was acquired by the Spanish government
for one thousand euros.

Blood Compact, Paris 1885

It depicts the traditional “kasikasi” or drinking ceremony which was a symbol of friendship,
peace, and goodwill among those executing the compact. Blood Compact executed by the Spaniards
in the Philippines held on March 16, 1565, between Don Miguel Lopez de Legazpi and Rajah
Sikatuna of Bohol.

Spoliarium

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 The painting features a glimpse of Roman history centered on the bloody carnage brought by
gladiatorial matches. Spoliarium is a Latin word referring to the basement of the Roman Colosseum
where the fallen and dying gladiators are dumped and devoid of their worldly possessions.

At the center of Luna’s painting are fallen gladiators being dragged by Roman soldiers. On the
left, spectators ardently await their chance to strip off the combatants of their metal helmets and other
armories. In contrast with the charged emotions featured on the left, the right side meanwhile
presents a somber mood. An old man carries a torch perhaps searching for his son while a woman
weeps the death of her loved one.

The Spoliarium is the most valuable oil-on-canvas painting by Juan Luna, a Filipino educated
at the Academia de Dibujo y Pintura (Philippines) and at the Academia de San Fernando in Madrid,
Spain. With a size of 4.22 meters x 7.675 meters, it is the largest painting in the Philippines. A
historical painting, it was made by Luna in 1884 as an entry to the prestigious Exposicion de Bellas
Artes (Madrid Art Exposition, May 1884) and eventually won for him the First Gold Medal.

The Parisian Life

Juan Luna painted this masterpiece in 1892 when he was staying in Paris, France. It is called
The Parisian Life but is also known as Interior d’un Cafi (meaning “inside a cafe”). He used oil on
canvas to create this 22 x 31-inch painting.

This may seem like any other old piece of artwork but the details and story of this masterpiece
are one of a kind. The men in the background are actually three well known Filipinos: Juan Luna
himself, Jose Rizal, a very famous author and hero, and Ariston Bautista Lin, the first owner of the
painting. These men were all living in France at that time.

España Y Filipinas

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 Her mirror image is said to resemble the archipelago of the Philippines – her outstretched arm
being the island of Palawan. Another interesting detail is the darkness on the woman’s neck and the
line going from her head to the top of the picture. This apparently shows that the Philippines was
going through a time of struggle which could very well be because they were being oppressed by the
Spanish at that time.

España Y Filipinas meaning “Spain and the Philippines” is an oil on wood painting of Juan
Luna in 1886. The two women together are the representation of Spain and the Philippines. The
painting also is known as España Guiando a Filipinas (Spain Leading the Philippines).

In this painting, Juan Luna wants to show the strong bond between Spain and the Philippines.
It also revealed the true hope and desire of every Filipino to have an equal treatment between Spain
and the Philippines, even Spain leading the Philippines in a progressive country.

FERNANDO AMORSOLO'S PAINTINGS

AUTHOR'S BACKGROUND

Fernando Cueto Amorsolo (May 30,

1892 – April 26, 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. Fernando Amorsolo was born
on May 30, 1892, in Paco, Manila to Pedro
Amorsolo, a bookkeeper, and Bonifacia
Cueto. Amorsolo spent his childhood in
Daet, Camarines Norte, where he studied
in a public school and was tutored at home
in Spanish 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 watercolor postcards to a local bookstore for 10 centavos each.
Amorsolo’s brother, Pablo, was also a painter.

During his lifetime, Amorsolo was married twice and had 14 children. In 1916, he married
Salud Jorge, with whom he had six children. After Jorges death in 1931, Amorsolo married Maria del
Carmen Zaragoza, with whom he had eight more children. Among her daughters are Sylvia Amorsolo
Lazo and Luz Amorsolo. Five of Amorsolo children became painters themselves. Amorsolo was a
close friend to the Philippine sculptor Guillermo Tolentino, the creator of the Caloocan. It is believed
that he had painted more than 10,000 pieces, his Rice Planting (1922), which appeared on posters
and tourist brochures, became one of the most popular images of the Commonwealth era. He died on
April 24, 1972, at the age of 79.

Educational Background
Amorsolo earned a degree from the Liceo de Manila Art School in 1909 and entered the
University of the Philippines' School of Fine Arts. He was a portrait artist and known painter of rural
Philippine landscapes. He graduated with honors from the U.P. in 1914 and got a study grant in
Madrid, Spain. He was also able to visit New York, where he encountered postwar impressionism and
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cubism, which would be major influences on his work. Don Fabian De La Rosa advocate and guide to
Amorsolo’s painting career while Diego Velasquez is the major influence of Amorsolo’s and Enrique
Zobel De Ayala gave him the grant to study in Madrid, Spain

Awards
• 1908 2nd Prize, Bazar Escolta (Asociacion Internacional de Artistas), for Levendo Periodico
• 1922 1st Prize, Commercial and Industrial Fair in the Manila Carnival
• 1929 (1939?) 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

CONTEXTUAL ANALYSIS

The masterpieces of Amorsolo were created during the American colonial rule and
the Japanese occupation of the Philippines during World War II.

CONTENT ANALYSIS

The painter Fernando Amorsolo (1892-1972) was a dominant figure in the visual arts of the
Philippines during the decades before the Second World War and into the post-war period. His
oeuvre is characterized by scenes of the Filipino countryside, harmoniously composed and richly
colored, saturated with bright sunlight and populated by beautiful, happy people: it is an art of beauty,
contentment, peace, and plenty – which perhaps explains its enduring popularity in the Philippines to
this day. Moreover, Amorsolo's paintings commemorate the different tradition, cultures, and customs
of Filipinos.

Planting Rice with Mayon Volcano,

Planting Rice with Mayon Volcano was painted in 1949. Happy Filipino villagers in their bright
clothes and straw hats work together amid a green and sunlit landscape of plenty. Behind them,
releasing a peaceful plume of steam rises the beautifully symmetrical cone of Mayon stratovolcano. It
is the ash erupted by the volcano over its highly-active history that has made the surrounding
landscape fertile, and the tranquil cone appears here to be a beneficial spirit of the earth standing
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guardian over the villagers and their crops. Mayon’s eruptions can be very destructive (as in the
violent eruption of 1947, not long before this picture was painted, when pyroclastic flows and lahars
brought widespread destruction and fatalities) but here the relationship between the volcano and the
surrounding landscape is depicted as a positive, fruitful and harmonious one. Mayon is a celebrated
symbol of the Philippines, and its presence in Amorsolo’s painting emphasizes his wish to represent
the spirit of the nation on canvas.

The Fruit Pickers under the Mango Tree

Fernando Amorsolo created this painting during the year 1937. This year was the rise of
women's rights. Many events for the Filipinas occurred during that time. One, the Philippines held a
plebiscite for Filipino women on whether they should be extended the right to suffrage; over 90%
voted in the affirmative. Also, for the first-ever, Filipino women were given the right to vote during
elections.

The artist, Amorsolo, created this artwork to show the true value of Filipinos. They are hard-
working yet happy of what they are doing. It was to also make the world aware of the true Filipina
beauty. Overall, this painting was intended to show Filipino’s characteristic glow. This can be proven
by looking at the characters in the painting.

The artwork is entitled Fruit Pickers Under the Mango Tree. It was painted by Fernando
Amorsolo a famous Filipino artist. It was made by using oil on 25 1/4 x 37 1/2 inches canvas and was
finished in the year 1937.

The Making of the Philippine Flag

The painting shows three women namely Marcella Marino de Agoncillo (on the right side) refer
as the mother of the Philippine flag, with the help of Lorenza and Delfina Herbosa de Natividad which
is actually the daughter of Marcela. They were tasked by Gen. Emilio Aguinaldo to sew the first flag
for the new republic. The clothes that the women are wearing are an older style, more vintage, and
really depict the traditional styles. The skirts the women are wearing are long and their tops were like
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a traditional “kimona”. The three women are sewing passionately which demonstrates elegance.
The painting was not that kind of vibrant in the eyes but can set your mood is calm. The setting is
inside of a house which is more like a “Bahay Kubo” The main colors that were used in the painting
were brown, red, blue, and yellow. The mood and visual effects that this painting can be considered
are calmness and serenity. The painting shows a contrast of colors of brown to yellow which is not
harmonious. The artist balanced his characters and the background in his painting which makes the
painting balanced. There are no real lines in the painting because it is painted in a pointillist style.

Defense of a Filipina Woman’s Honour

This is a representative of Amorsolo's World War II-era paintings. Here, a Filipino man defends
a woman, who is either his wife or daughter, from being raped by an unseen Japanese soldier. Note
the Japanese military cap at the man's foot.

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.

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."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.

REFERENCES

✓ Juan Luna Famous Works. (n.d.). Juan Luna Famous Works. Retrieved October 9, 2020, from
https://henocque.com/blog/Juan-Luna-Famous-Works-94d404
✓ Today in Philippine History, October 23, 1857 Juan Luna was born in Badoc, Ilocos Norte. (n.d.). The
Kahimyang Project. Retrieved October 9, 2020, from
https://kahimyang.com/kauswagan/articles/705/today-in-philippine-history-october-23-1857-juan-luna-
was-born-in-badoc-ilocos-norte
✓ Juan luna’s paintings. (n.d.). HUM01 1FMC. Retrieved October 9, 2020, from
https://hum011fmc.wordpress.com/2013/01/31/juan-lunas-paintings/
✓ Fernando Amorsolo. (n.d.). Academic Dictionaries and Encyclopedias. Retrieved October 9, 2020, from
https://enacademic.com/dic.nsf/enwiki/1920618
✓ Fernando Amorsolo’s Review. (n.d.). Fernando Amorsolo’s Review. Retrieved October 9, 2020, from
https://fernandoamorsolo.wordpress.com/2012/01/
✓ Saturday Volcano Art: Fernando Amorsolo, ‘Planting Rice with Mayon Volcano’ (1949). (2009, May 10).
The Volcanism Blog. https://volcanism.wordpress.com/2009/05/09/fernando-amorsolo-planting-rice-
with-mayon-volcano-1949/

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