FERNANDO AMORSOLO

Fernando Cueto Amorsolo

(May 30, 1892 – April 24, 1972)
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.

Career
After graduating from the University of the Philippines, Amorsolo worked as a draftsman for the
Bureau of Public Works as a chief artist at the Pacific Commercial Company and as a part-time
instructor at the University of the Philippines. He taught at the University for 38 years, including
14 years as director of the Art Department.

After three years as an instructor and commercial artist, Amorsolo was given a grant to study at
the Academia de San Fernando in Madrid, Spain by Filipino businessman Enrique Zóbel de
Ayala. During his seven months in Spain, Amorsolo sketched at museums and along the streets
of Madrid experimenting with the use of light and color. Still through the Zóbel grant, Amorsolo
was also able to travel to New York City, where he encountered postwar impressionism and
cubism which would become major influences on his work.

Amorsolo set up his own studio upon his return to Manila and painted 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 the Commonwealth of the Philippines. Beginning in the 1930s,
Amorsolo's work was exhibited widely in the Philippines and abroad.
Art Styles and Techniques
Impressionism, Luminism, Realism
Amorsolo is best known for his illuminated landscapes, which often portrayed traditional
Filipino customs, culture, fiestas and occupations. His pastoral works presented "an imagined
sense of nationhood in counterpoint to American colonial rule" and were important to the
formation of Filipino national identity. He was educated in the classical tradition and aimed "to
achieve his Philippine version of the Greek ideal for the human form." In his paintings of
Filipina women, Amorsolo rejected Western ideals of beauty in favor of Filipino ideals and was
fond of basing the faces of his subjects on members of his family.

Amorsolo used natural light in his paintings and developed the backlighting technique,
Chiaroscuro, which became his artistic trademark and his greatest contribution to Philippine
painting. In a typical Amorsolo painting, figures are outlined against a characteristic glow, and
intense light on one part of the canvas highlights nearby details. Philippine sunlight was a
constant feature of Amorsolo's work; he is believed to have painted a rainy-day scene only once.

Sketches

Sketch of a woman, whose unfinished style is representative of Amorsolo's sketching.

Amorsolo was an incessant sketch artist, often drawing sketches at his home, at Luneta Park, and
in the countryside. He drew the people he saw around him, from farmers to city-dwellers coping
with the Japanese occupation. Amorsolo's impressionistic tendencies, which may be seen in his
paintings as well, were at their height in his sketches. His figures were not completely finished
but were mere "suggestions" of the image
Example Artworks

Antipolo by Fernando Amorsolo, depicting Filipinos celebrating the annual pilgrimage to Antipolo, with the pre-War cathedral
depicted in the background.

Making the Philippine flag by Fernando Armorsolo, depicting Marcela Agoncillo, her daughter Lorenza, and Delfina Herbosa
Natividad (whose uncle was none other than Dr. Jose Rizal) making the Philippine flag.
 VICENTE SALIVA MANANSALA
Vicente Saliva Manansala

(January 10, 1910 – August 22 1981)

Was a Filipino artist known for his Cubist paintings and prints. Through his depictions of
contemporary Filipino life, Manansala addressed issues of intimacy, poverty, and culture. His
melding of social commentary with painting had a profound influence on the younger Filipino
artists of his generation, such as Angelito Antonio and Manuel Baldemor

Career

He studied at the U.P. School of Fine Arts. In 1949, Manansala received a six-month grant by
UNESCO to study at the École des Beaux-Arts in Banff and Montreal, Quebec, Canada. In 1950,
he received a nine-month scholarship to study at the École des Beaux-Arts in Paris by the French
government.
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 his Jeepneys, Manansala
combined the elements of provincial folk culture with the congestion issues of the city.

Art Style and Technique

Transparent Cubism
In his work, featuring the everyday life of urban and rural people, Manansala employed
repetition of form and shape where the essential tones, and patterns of figure and environment
are faceted and superimposed. He often depicted everyday moments that perfectly reflected the
relationships between family units and society to further the national identity. Manansala had
developed this technique known as 'transparent cubism' where the essential tones, shapes and
patterns of figure and environment are faceted and superimposed.
Example Artworks

Luksong-Tinik (Jumping over Thorns) 1973.

Ang Magbabayo (Pounding Rice)Vicente Manansala • 1979

 HERNANDO RUIZ OCAMPO

Hernando Ruiz Ocampo

(April 28, 1911 - December 28, 1978 )
Was a Filipino artist best known for his abstract paintings. Following in Modernist traditions,
Ocampo used bold color palettes and biomorphic shapes inspired by both his country’s landscape
and by science fiction writing. He had a background as a writer and originally studied law and
creative writing before teaching himself art. He started his career as a member of the Saturday
Group along with Vicente Silva Manansala and Cesar Legaspi. Over the course of his career his
interest evolved from depictions of workers to abstract forms. He died on December 28, 1978 in
Caloocan, Philippines at the age of 67, and was posthumously awarded the title of National
Artist of the Visual Arts in 1991.

Career
Early career
Ocampo was born in Santa Cruz, Manila, but later transferred to #61 Dimasalang St., Caloocan.
His parents were Emilio Ocampo y Saltiero and Delfina Ruiz y Santo. He originally studied law,
commerce and creative writing, and worked as a writer before he taught himself the visual arts.
During his career as a writer, he was one of the organizers of Veronicans, a young group of
progressive and prolific writers. He worked in various periodicals such as Taliba newspaper and
Manila Sunday Chronicle magazine. He also worked as a scriptwriter and director for television,
and produced and directed for the Filipino Players Guild.
Later career
His works as a writer includes "Don’t Cry, Don’t Fret" in poetry; "Ikalawang Pagdalaw," "Unang
Pamumulaklak," "Rice and Bullets," and "Bakia" in fiction; and "Buntot Page," a screenplay
written with Mario David.
His major works in the visual arts include Ina ng Balon, Calvary, Slum Dwellers, Nude with
Candle and Flower, Man and Carabao, Angel's Kiss, Palayok at Kalan, Ancestors, Isda at
Mangga, The Resurrection, fifty-three "Q," Back drop, Fiesta, Mother and Child, Easter Sunday,
and his most acknowledged work Genesis, which served as the basis of curtain design in the
Cultural Center of the Philippines Main Theater. His works were exhibited in Washington, New
York, London, and Tokyo, among others. His work was also part of the painting event in the art
competition at the 1948 Summer Olympics.
Art Style and Technique
Abstractionism
Philippine artist Hernando Ruiz Ocampo is best known for his abstract painting depicting the
harsh reality of poverty and suffering. The vibrant pallet and distorted biomorphic shapes in
his work were inspired by the landscape of his home country and by science fiction writing.

Example Artworks

Hernando Ruiz Ocampo

Untitled; Bosquejo II ; Untitled, 1973

Hernando Ruiz Ocampo

Analogy (B), 1969
 NAPOLEON ABUEVA

Napoleon Abueva
(January 26, 1930 – February 16, 2018)
Was known as the "Father of Modern Philippine Sculpture" Through Proclamation No. 1539. He
was proclaimed National Artist for Sculpture in 1976 when he was 46, making him the youngest
recipient of the award to date. Recognized as the “Father of Modern Philippine Sculpture”,
Abueva helped shape the local sculpture scene to what it is now. He used almost all kinds of
materials for his sculptures such as hard wood, adobe, metal, stainless steel, cement, marble,
bronze, iron, alabaster, coral and brass. He was the first Filipino artist to mount a one-man
exhibit at the Philippine Center in New York in 1980.

Career

Abueva graduated in high school at the Rafael Palma College (now the University of Bohol) in
1949. He earned his Bachelor of Fine Arts in Sculpture at the UP School of Fine Arts (now UP
College of Fine Arts/UPCFA) in 1953 as one of the second batch of Fine Arts students who
moved from the old campus in Padre Faura to Diliman. He was mentored by fellow National
Artist for Sculpture Guillermo Tolentino. Through scholarship grants, he was able to pursue
advanced studies abroad including one from Harvard University.

Art Style and Technique

Sculpture, Representational and Modern Abstractionism

Abueva became known for his varied media choices, including hardwoods, stainless steel, iron,
bronze, brass, cement, marble, alabaster and coral. Abueva helped shape the local sculpture
scene in the Philippines, being adept in both academic representational style and modern
abstract.

Example Artworks

Napoleon Abueva, The Philippines and the Spirit of Apec, Fiberglass, 157×75 cm, Artist’s Collection | Courtesy the Metropolitan
Museum of Manila and the Artist.

Napoleon Abueva, Blood Compact

What do you think are the qualities of Philippine art or in your opinion, what makes
Philippine art Filipino?
From my standpoint I think Philippine art is unique in cultural experience because it's primarily
designed to represent rather than describe. It captures intangible aspects of life that books fail to
express effectively – like the daily life of the Filipino’s before or the historical events of or
country or just simply depicting our culture and traditions. I think Philippine art is a Filipino if
the artists are Filipino and if the artists paint our soul more than our eyes; Philippines Art speaks
truth in colors, it is about creating an identity, the joys and pain- they paint what fuels us. More
importantly, they act as ambassadors for children who struggle with self-esteem issues. They
pour colors into the heart of a child to soar high and fly.

In short, Philippine art is vibrant, imaginative, and expressive. In its best form, it's a reflection of
Filipino culture ー delicately balanced between simple beauty and complex ideas.