NATIONAL ARTISTS

IN THE PHILIPPINES
IN THE FIELD OF VISUAL ARTS
 Fernando
Amorsolo

National Artist for Visual Arts

(May 30, 1892 - April 24, 1972)
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 Fernando
Amorsolo
The country had its first National Artist inFernando C. Amorsolo. The
The country had its first National Artist inFernando 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 Amorsolos own exuberance. His citation underscores
all his years of creative activity which have defined and perpetuated a
distinct element of the nations artistic and cultural heritage.
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 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.
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 Hernando R. Ocampo

National Artist for Visual Arts

(1991)
(April 28, 1911 December 28,
1978)
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 Hernando R.
Ocampo

Hernando R. Ocampo, a self-taught painter, was a leading

member of the pre-war Thirteen Moderns, the group that
charted the course of modern art in the Philippines. His works
provided an understanding and awareness of the harsh social
realities in the country immediately after the Second World
War and contributed significantly to the rise of the nationalist
spirit in the post-war era. It was, however, his abstract works
that left an indelible mark on Philippine modern art. His
canvases evoked the lush Philippine landscape, its flora and
fauna, under the sun and rain in fierce and bold colors. He also
played a pivotal role in sustaining the Philippine Art Gallery,
the countrys first.
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 Ocampos acknowledged masterpieceGenesis
served as the basis of the curtain design of the
Cultural Center of the Philippines Main Theater. His
other major works includeIna ng
Balon,Calvary,Slum wellers,Nude with Candle
and Flower,Man and Carabao,Angels
Kiss,Palayok at Kalan,Ancestors,Isda at
Mangga,The Resurrection,Fifty-three
Q,Backdrop,Fiesta.
Genesis. 1969

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 Benedicto
Cabrera

National Artist for Visual Arts

(2006)
(April 10, 1942 - April 10, 2013
(April 10, 1942 - April 10, 2013
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 Benedicto
Cabrera
Benedicto R. Cabrera, *who signs his paintings Bencab,
upheld the primacy of drawing over the decorative color.
Bencab started his career in the mid-sixties as a lyrical
expressionist. His solitary figures of scavengers emerging from
a dark landscape were piercing stabs at the social conscience
of a people long inured to poverty and dereliction. Bencab, who
was born in Malabon, has christened the emblematic scavenger
figure Sabel. For Bencab, Sabel is a melancholic symbol of
dislocation, despair and isolationthe personification of human
dignity threatened by lifes vicissitudes, and the vast inequities
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of Philippine society.
 Bencabs exploration of form, finding
his way out of the late neo-realism and
high abstraction of the sixties to be able
to reconsider the potency of figurative
expression had held out vital options for
Philippine art in the Martial Law years in
the seventies through the contemporary
era.

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 Selected works:

Madonna with Objects, 1991
Studies of Sabel, dyptych, 1991
People Waiting, 1989
The Indifference, 1988
Waiting for the Monsoon, 1986

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 Carlos Botong Francisco

National Artist for Painting (1973)

(November 4, 1912 March 31, 1969)
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 Carlos Botong Francisco

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. Botongs 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.
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 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
Harana, 1957 (BangkoSentral ng Pilipinas Collection)
Sandugo.
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 Cesar Legaspi

National Artist for Visual Arts (1990)

(April 2, 1917 April 7, 1994)

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 Cesar Legaspi
A pioneer Neo-Realist of the country,Cesar Legaspiis
remembered for his singular achievement of refining cubism
in the Philippine context. Legaspi belonged to the so-called
Thirteen Moderns and later, the Neo-realists. His
distinctive style and daring themes contributed significantly
to the advent and eventual acceptance of modern art in the
Philippines. Legaspi made use of the geometric
fragmentation technique, weaving social comment and
juxtaposing the mythical and modern into his overlapping,
interacting forms with disturbing power and intensity.
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 Among his works areGadgets
I,Gadgets II,Diggers,Idols of the
Third
Eye,Facade,Ovary,FloraandFauna,Tri
ptych,Flight,Bayanihan,Struggle,Ave
nging Figure,Turning Point,Peace,The
Survivor,The Ritual.

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 Abdulmari Asia Imao

National Artist for Visual Arts (2006)

(January 14, 1936 December 16, 2014)

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Abdulmari Asia Imao
Abdulmari Asia Imao, a native of Sulu, is a sculptor, painter,
photographer, ceramist, documentary film maker, cultural researcher,
writer, and articulator of Philippine Muslim art and culture.Through his
works, the indigenous ukkil, sarimanok and naga motifs have been
popularized and instilled in the consciousness of the Filipino nation and
other peoples as original Filipino creations.His U.P. art education
introduced him to Filipino masters like Guillermo Tolentino and Napoleon
Abueva, who were among his mentors.With his large-scale sculptures
and monuments of Muslim and regional heroes and leaders gracing
selected sites from Batanes to Tawi-tawi, Imao has helped develop
among cultural groups trust and confidence necessary for the building
of a more just and humane society.
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 Selected works:

Industry Brass Mural, Philippine National

Bank, San Fernando, La Union
Mural Relief on Filmmaking, Manila City Hall
Industrial Mural, Central Bank of the
Philippines, San Fernando, La Union
Sulu Warriors(statues of PanglimaUnaid and
Captain Abdurahim Imao), 6 ft., Sulu Provincial
Capitol

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 Guillermo Tolentino

National Artist for Sculpture (1973)

(July 24, 1890 July 12, 1976)

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Guillermo Tolentino

Guillermo Estrella Tolentinois a product of the Revival period in
Philippine art. Returning from Europe (where he was enrolled at the
Royal Academy of Fine Arts, Rome) in 1925, he was appointed as
professor at the UP School of Fine Arts where the idea also of
executing a monument for national heroes struck him. The result
was theUP Oblationthat became the symbol of freedom at the
campus. Acknowledged as his masterpiece and completed in
1933,The Bonifacio Monumentin Caloocan stands as an enduring
symbol of the Filipinos cry for freedom.

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 Other works include the bronze figures
ofPresident Quezon at Quezon Memorial,
life-size busts ofJose Rizalat UP and UE,
marble statue ofRamon Magsaysayin GSIS
Building; granolithics of heroic statues
representing education, medicine, forestry,
veterinary science, fine arts and music at
UP.
He also designed the gold and bronze
Bonifacio Monument (Image credit: medals for theRamon Magsaysay
Ramon Velasquez via Wikimedia
Commons Awardand did the seal of theRepublic of
the Philippines.

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 Arturo Luz

National Artist for Visual Arts (1997)

November 20, 1926 (age 90)

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 Arturo Luz
Arturo Luz, painter, sculptor, and designer for more than 40 years,
created masterpieces that exemplify an ideal of sublime austerity in
expression and form. From the Carnival series of the late 1950s to the
recent Cyclist paintings, Luz produced works that elevated Filipino
aesthetic vision to new heights of sophisticated simplicity. By
establishing the Luz Gallery that professionalized the art gallery as an
institution and set a prestigious influence over generations of Filipino
artists, Luz inspired and developed a Filipino artistic community that
nurtures impeccable designs.
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 Among his other significant paintings
areBagongTaon,Vendador de Flores,Skipping
Rope,Candle Vendors,Procession,Self-
Portrait,Night Glows,Grand Finale,Cities of the
Past,Imaginary Landscapes. His mural
paintingBlack and Whiteis displayed in the
lobby of the CCPsBulwagang Carlos V. Francisco
(Little Theater). His sculpture of a stainless steel
cube is located in front of the Benguet Mining
Night Glows, 1960
Corporation Building in Pasig.

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 Federico Aguilar y Alcuaz

National Artist for Visual Arts (2009)

(June 6, 1932 - February 2, 2011)

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 Federico Aguilar y Alcuaz

Federico Aguilar y Alcuaz

Federico Aguilar y Alcuaz, who signed his works as Aguilar

Alcuaz was an artist of voluminous output. He is known mainly for
his gestural paintings in acrylic and oil, as well as sketches in ink,
watercolor and pencil. He was also a sculptor of note and has
rendered abstract and figurative works in ceramics, tapestries and
even in relief sculptures made of paper and mixed media, which he
simply calls Alcuazaics. The preference to use his maternal name
was more for practical reasons; Alcuaz was rarer than the name
Aguilar, and thus ensured better recall; it was also simpler to drop
the customary between the two names.

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 Alcuaz belongs to the second generation of Filipino modernists after the fabled Thirteen
Moderns, credited along with Jose Joya, Constancio Bernardo, Fernando Zobel and Arturo Luz, for
building a significant body of abstract art from the arguably more tentative efforts of their
predecessors. Alcuaz went to the UP College of Fine Arts in Diliman while also taking up his pre-
law course at San Beda College. Napoleon Abueva, Jose Joya and Juvenal Sanso were also in
school with him at that time, studying under Fernando Amorsolo, Guillermo Tolentino, Irineo
Miranda, Constancio Bernardo and Toribio Herrera. He would go on to win prizes at UP and at the
national Shell Art competition, and embarked on several solo exhibits after graduating from San
BedaAlcuaz would go on in 1955 to obtain a law degree at the Ateneo de Manila in Padre Faura,
Manila in deference to his fathers wishes, but after mounting an exhibit at the legendary
Philippine Art Gallery, he received a fellowship from the Ministry of Foreign Affairs in Spain and
proceeded to study at the Academia de BellasArtes de San Fernando in Madrid, where other
Filipino expatriates like Juan Luna, Felix Resurreccion Hidalgo, Fernando Amorsolo, Fabian dela
Rosa and Jose Ma. Asuncion received a similar classical training.

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 After his studies, he stayed on to live and familiarize himself with
the art and culture of Europe. He had exhibits in Madrid and then in
Barcelona, where he met his future wife Ute Schmidt who he married in
1959. They have three children. In 1964, the family moved to Manila,
but after 4 years his wife returned to Germany with their three sons,
whereupon, Alcuaz embarked once more on shuttling between Europe to
see his family and mount exhibits, and then to Manila, where he
preferred to do his studio at the Manila Hilton (now the Manila Pavilion).
His works are highly favored, not only for its studied refinement and
European flair, but also for the ease and pleasure conveyed by his
choice of light, color and composition; all of which add up to scenes
which are always quite playful but never cluttered. His love for classical
music is also apparent in this constant fluidity.


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 Napoleon Abueva

National Artist for Sculpture (1976)

(January 26, 1930)

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 At 46 then,Napoleon V. Abueva, a native of Bohol, was the youngest
National Artist awardee. Considered as the Father of Modern Philippine
Sculpture, Abueva has helped shape the local sculpture scene to what it is now.
Being adept in either academic representational style or modern abstract, he
has utilized almost all kinds of materials from hard wood (molave, acacia, langka
wood, ipil, kamagong, palm wood and bamboo) to adobe, metal, stainless steel,
cement, marble, bronze, iron, alabaster, coral and brass. Among the early
innovations Abueva introduced in 1951 was what he referred to as buoyant
sculpture sculpture meant to be appreciated from the surface of a placid
pool. In the 80s, Abueva put up a one-man show at the Philippine Center, New
York. His works have been installed in different museums here and abroad, such
asThe Sculptureat the United Nations headquarters in New York City.

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 Some of his major works
includeKaganapan(1953),Kiss of Judas(1955),Thirty
Pieces of Silver,The Transfiguration(1979), Eternal
Garden Memorial Park,UP Gateway(1967),Nine
Muses(1994), UP Faculty Center,Sunburst(1994)-
Peninsula Manila Hotel, the bronze figure ofTeodoro M.
Kalawin front of National Library, and murals in marble at
theNational Heroes Shrine, Mt. Samat, Bataan.

Nine Muses of the Arts (Ramon Velasquez via
Wikimedia Commons)

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 J. Elizalde
Navarro

National Artist for Painting

(1999)
(May 22, 1924 June 10, 1999)
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 J. (Jeremias) Elizalde Navarro, was born on May 22,
1924 in Antique. He is a versatile artist, being both a
proficient painter and sculptor. His devotion to the
visual arts spans 40 years of drawing, printmaking,
graphic designing, painting and sculpting. His masks
carved in hardwood merge the human and the animal;
his paintings consists of abstracts and figures in oil
and watercolor; and his assemblages fuse found
objects and metal parts. He has done a series of
figurative works drawing inspiration from Balinese art
and culture, his power as a master of colors largely
evident in his large four-panel The Seasons (1992:
Prudential Bank collection).
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 A Navarro sampler includes his 50s and 60s
fiction illustrations for This Week of the Manila
Chronicle, and the rotund, India-ink figurative
drawings for Lydia Arguillas storybook, Juan
Tamad. Three of his major mixed media works
are Im Sorry Jesus, I Cant Attend
Christmas This Year (1965), and his Homage
to Dodjie Laurel (1969: Ateneo Art Gallery
Morning Mist Over Ubud, Bali (1992) collection), and A Flying Contraption for Mr.
Icarus (1984: Lopez Museum).

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 FRANCISCO COCHING

National Artist for Visual Arts (2014)

(January 29, 1919 September 1,
1998)
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 Francisco Coching, acknowledged as the Dean of Filipino Illustrators
and son of noted Tagalog novelist and comics illustrator Gregorio
Coching, was a master storyteller in images and in print. His
illustrations and novels were products of that happy combination of
fertile imagination, a love of storytelling, and fine draftsmanship. He
synthesized images and stories informing Philippine folk and popular
imagination of culture. His career spanned four decades.
Starting his career in 1934, he was a central force in the formation of the
popular art form of comics. He was a part of the golden age of the
Filipino comics in the 50s and 60s. Until his early retirement in 1973,
Coching mesmerized the comics-reading public as well as his fellow
artists, cartoonists and writers.

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 The source of his imagery can be traced to the Philippine culture from the 19th
century to the 1960s. His works reflected the dynamics brought about by the racial
and class conflict in Philippine colonial society in the 19th century, a theme that
continued to be dealt with for a long time in Philippine cinema. He valorized the
indigenous, untrammeled Filipino in Lapu-Lapu and Sagisag ng Lahing Pilipino, and
created the types that affirm the native sense of self in his Malay heroes of stunning
physique. His women are beautiful and gentle, but at the same time can be warrior-
like, as in Marabini (Marahas na Binibini) or the strong seductive, modern women of
his comics in the 50s and 60s.

There is myth and fantasy, too, featuring the grotesque characters, vampire bats,
shriveled witches, as in Haring Ulopong. Yet, Coching grounded his works too in the
experience of war during the Japanese occupation, he was a guerilla of the Kamagong
Unit, Las Pinas branch of the ROTC hunters in the Philippines. He also drew from the
popular post-war culture of the 50s, as seen in Movie Fan. At this point, his settings
and characters became more urbane, and the narratives he weaved scanned the
changing times and mores, as in Pusakal, Talipandas, Gigolo, and Maldita.
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 In his characters and storylines, Coching brings to
popular consciousness the issues concerning race
and identity. He also discussed in his works the
concept of the hero, which resonate through the
characters on his comics like in Dimasalangand El
Vibora.
He also left a lasting influence on the succeeding
generations of younger cartoonist such as Larry
Alcala, Ben Infante and Nestor Redondo. The comics
as popular art also helped forge the practice and
consciousness as a national language.

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 Victorio C. Edades

National Artist for Painting (1976)

(December 23, 1895 March 7, 1985)

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Painting distorted human figures in rough, bold impasto strokes, and standing tall and singular
in his advocacy and practice of what he believes is creative art,Victorio C. Edades emerged
as the Father of Modern Philippine Painting. Unlike, Amorsolos 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 Bachelors
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.

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 Among his works are The
Sketch,The Artist and the Model,
Portrait of the
Professor,Japanese Girl, Mother
and Daughter, The Wrestlers,
andPoinsettia Girl.

The Sketch, 1928

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 Ang Kiukok

National Artist for Visual Arts (2001)

(March 1, 1931 May 9, 2005)

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 Born to immigrant Chinese parents Vicente Ang and Chin
Lim, Ang Kiukok is one of the most vital and dynamic
figures who emerged during the 60s.. As one of those who
came at the heels of the pioneering modernists during that
decade, Ang Kiukok blazed a formal and iconographic path of
his own through expressionistic works of high visual impact
and compelling meaning.
He crystallized in vivid, cubistic figures the terror and angst
of the times. Shaped in the furnace of the political turmoil of
those times, Ang Kiukok pursued an expression imbued with
nationalist fervor and sociological agenda.

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nclude:Geometric Landscape(1969);Pieta, which won for him the bronze medal in the 1st International Art Exhibition held in Saigon (1962); and theSeated Figure(1979), auc

und in many major art collections, among them the Cultural Center of the Philippines, National Historical Museum of Taipei, and the National Museum in Singapore.AngKiukok d

Thinking Man, 1979, Watercolor on Paper Cockerel, 1976, Watercolor on Paper

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 Some of his works include: Geometric Landscape (1969);
Pieta, which won for him the bronze medal in the 1st
International Art Exhibition held in Saigon (1962); and the
Seated Figure (1979), auctioned at Sothebys in Singapore.

His works can be found in many major art collections, among

them the Cultural Center of the Philippines, National Historical
Museum of Taipei, and the National Museum in Singapore.

Ang Kiukok died on May 9, 2005

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 Jose Joya

National Artist for Visual Arts (2003)

(June 3, 1931 May 11, 1995)

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 Jose Joyais a painter and multimedia artist who distinguished himself by creating an
authentic Filipino abstract idiom that transcended foreign influences. Most of Joyas
paintings of harmonious colors were inspired by Philippine landscapes, such as green
rice paddies and golden fields of harvest. His use of rice paper in collages placed value
on transparency, a common characteristic of folk art. The curvilinear forms of his
paintings often recall the colorful and multilayered kiping of the Pahiyas festival. His
important mandala series was also drawn from Asian aesthetic forms and concepts.

He espoused the value of kinetic energy and spontaneity in painting which became
significant artistic values in Philippine art. His paintings clearly show his mastery of
gestural paintings where paint is applied intuitively and spontaneously, in broad
brush strokes, using brushes or spatula or is directly squeezed from the tube and
splashed across the canvas. His 1958 landmark paintingGranadeanArabesque,a
work on canvas big enough to be called a mural, features swipes and gobs of impasto
and sand. The choice of Joya to represent the Philippines in the 1964 Venice Biennial
itself represents a high peak in the rise of the modern art in the country.

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 Joya also led the way for younger artists in bringing
out the potentials of multimedia. He designed and
painted on ceramic vessels, plates and tiles, and
stimulated regional workshops. He also did work in the
graphic arts, particularly in printmaking.
His legacy is undeniably a large body of work of
consistent excellence which has won the admiration of
artists both in the local and international scene. Among
them are his compositionsBeethoven Listening to the
Granadean Arabesque, 1958 (Ateneo Art Gallery
Blues,andSpace Transfiguration, and other works
Collection) likeHills of Nikko,Abstraction,Dimension of
Fear,Naiad,Torogan,Cityscape.

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 Vicente Manansala

National Artist for Painting (1981)

(January 22, 1910 August 22, 1981)

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 Vicente Manansalas 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 mothers 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 its really
finished.

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 Manansalas works includeA 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,Nude.

Mother and Child, 1967

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GROUP 4
SOL KIZZIAH MEI
CABANDI
JESSA MAE JEMINO
KATE ANGELIE NABIONG
JAYLORD QUATCHON