Filipino Arstist: Their Works and Contributions

Fernando Amorsolo

Fernando Amorsolo y Cueto was a portraitist and painter of rural Philippine landscapes.
Nicknamed the "Grand Old Man of Philippine Art, he was the first-ever to be recognized as a
National Artist of the Philippines. He was recognized as such for his "pioneering use of
impressionistic technique" as well as his skill in the use of lighting and backlighting in his
paintings, "significant not only in the development of Philippine art but also in the formation of
Filipino notions of self and identity. The Spanish-trained realist developed a backlighting
technique, where his colorful depictions of local people reflect the radiance of the Philippine sun.

One of his famous artworks is a painting titled Planting Rice. The familiar sights of men
and women hand in hand working the rice field, the symmetrical cone of Mayon Volcano, the
bright clothes and the salakots worn by the farmhands shielding them from the intense tropical
sun, and the carabao plowing the field purposefully are masterfully depicted by Amorsolo in his
unflinchingly idyllic and picturesque manner. In spite of the laboriousness of the task at hand, the
artist’s use of mostly pastel hues projects an ineffable feeling of serenity and sheer delight in the
innate charms of the countryside.

Victorio C. Edades

Victorio Edades is indisputably one of the most important names within Philippine art
history. Known as the 'Father of Modern Philippine Art' and leader of the 'Thirteen Moderns' - a
vanguard of artists who fought for aesthetic progress - the road to visual modernity in the
Philippines would have looked vastly different without his artistic contributions. Due to Edades'
guiding light, Philippine art transitioned from the idyllic realism of Fernando Amorsolo to true
modernity by the mid-20th century, developing in tandem with Western art movements and
influences.

The Builders was his MA thesis in 1928, a finished product that rediscovered the
complexities of the human body and the struggle for recognition. The nude builders and blocks
against a dark background unearthed an interesting note towards progress, that in spite of having
peers around, you are on your own in your work. The Builders exemplified the dark side of
progress and industrialization that would be built on the backs of anonymous men who will
never receive gratification, much less see or enter the palaces they build.

Vicente Manansala

Vicente Manansala was a member of Victorio Edades' artistic group Thirteen Moderns
which was at the forefront of the modernist movement. One of the first Abstractionists on the
Philippine art scene Vicente Manansala is also credited with bridging the gap between the city
and the suburbs, between the rural and cosmopolitan ways of life. His paintings depict a nation in
transition, an allusion to the new culture brought by the Americans.

Manansala crafted "Madonna of the Slums" in the 1950s, employing a transparent cubism
style. The painting draws inspiration from postwar Manila's streets, much like many of
Manansala's other notable works. The artwork portrays a woman and child who, having migrated
from rural areas, confront poverty in the city. It vividly illustrates the challenges faced by
numerous Filipinos in the postwar Manila slums, conveying a somber atmosphere where
residents endure unhappiness, destitution, and poor health. Manansala skillfully highlights the
melancholic expressions of the mother and child, reflecting the prevalent scene of extreme
poverty in the slums. The background provides a glimpse into the daily struggles of slum
dwellers, emphasizing the harsh realities of their lives.

Martial Years of Philippine Arts

Social Realism in the Philippines was an aesthetic and political art movement that
emerged in the late 1970s amidst the country's conditions of martial rule, Imelda's grand cultural
edifices, US Imperialism, the international student movement of the 1970s, and great
socioeconomic disparity. Social Realism sought to depict the situations and concerns of the poor
and the voiceless majority under the authoritarian regime. It addressed itself to the comfortable
middle class – to awaken its social and political consciousness – as well as to workers and
peasants, to inspire them to take part in the national struggle. Social Realism would continue in
the next decade. It has guided artists who believe that art crystallizes the experiences and
aspirations of a people. The movement therefore is a vital part of the Filipino’s historical struggle
for social equality and economic emancipation.
 Artistic expression reflected the national struggle to survive and to prosper. New
materials emerged together with new methods of expression. It is this pluralistic state of the arts
that leads today’s Filipino artist toward defining what is distinctly Filipino.

Talusan Fernandez painted Kahapon, Ngayon at Pangarap (“Yesterday, Today and

Hope”), which shows a brown Filipina standing in the center of a picture of the Philippine Flag
in the manner of the Crucified Christ. The woman is clearly the allegorical Motherland,
surrounded by enemies, as symbolized by the ropes tied to her wrists. But the painting is hopeful
that the country will survive poverty and oppression as shown by the vertical display of the flag:
the red field is on the viewer’s right, which is the way the Philippine colors are displayed in
times of peace.

Renato Habulan moved from themes contrasting classes on society to themes

incorporating the importance of traditional beliefs – particularly the role of religion in the
struggle for social justice. His paintings showed Christian religious scenes and rituals celebrated
by the tillers of the earth. Christ’s struggle is highlighted strongly in strongly religious thematic
paintings. Although dressed in classical robes, both the Christ and His mother have native
features.

Social realism now gained adherents among regional artists, particularly in the province
of Davao, Negros Occidental and Cebu, which all have severe agrarian conflicts. Regional artists
painted large scale works and murals on local issues and in styles open to technical innovation
and the use of nontraditional materials. Two artists from Negros Occidental gave voice to social
themes in an expressionistic manner. Charlie Co chooses the surreal landscape as backdrops for
freely distorted figures. His flamboyant paintings have a wry humor. Nunelucio Alvarado paints
the migrant workers and the settled people of the sugarcane plantations.

Insights

Learning art through the ARTAP course has been an amazing journey, revealing not just
the techniques and aesthetics of art but the connections of arts with our history, culture, and
shared human experience. I learned three major lessons from this course, each contributing to a
broader understanding of the impact of art on our lives.
 First, the course has emphasized that art is not created in isolation but is a mirror
reflecting the essence of its time. Artists, consciously or unconsciously, channel the spirit of their
milieu into their creations. From the grandeur of the Renaissance to the tumultuous expressions
of the 20th century, art captures the stories, struggles, and triumphs of humanity. Understanding
art as a product of history invites us to learn the past, seeking to comprehend the motivations and
inspirations that fueled artistic movements. It encourages us to view art not merely as a visual
feast but as a historical document, a timeless dialogue between the artist and the society in which
they lived.

Second the course has also taught me the interconnected nature of art, showcasing how different
forms and styles borrow, influence, and respond to each other across time and space. Movements
such as surrealism borrowing from psychoanalysis or the fusion of Eastern and Western
aesthetics highlight the dynamic interplay within the artistic realm. This interconnectedness
extends beyond individual artworks to the global artistic community. The exchange of ideas,
techniques, and styles is not confined by geographical borders. In embracing this interconnected
nature of art, we appreciate that the beauty of creativity lies in its ability to bridge gaps, fostering
a shared understanding that transcends cultural and linguistic barriers.

Lastly, the significance of staying rooted in our cultural heritage through the arts. While art
evolves, it remains grounded in cultural foundations, acting as a bridge between generations.
Whether through traditional art forms passed down through centuries or contemporary
expressions that echo cultural nuances, the arts preserve and perpetuate the essence of our
identity. By recognizing its historical roots, appreciating its interconnectedness, and embracing
our cultural heritage, we can ensure that art continues to be a vibrant, relevant, and an impactful
force in our lives. After all, it is through the arts that we truly live, connecting the past, present,
and future in an eternal dance of creativity and expression.