CUA|REYES|TOMAS

The art of putting color or creating a

picture by putting paint on a medium
using some kind of paint brush.
 There was no true form of
“painting” before the Spanish
came.
 Mostly were non-traditional form
of painting like tattooing or body
art (Pintados of Visayas and Silup
of Kalingas)
 The closest form of a “painting”
that we identified is the Angono
Petroglyphs but even then, those
are only carvings, not paintings.
 The introduction of painting was
used by the friars to subdue the
Filipinos.
 The subject of many paintings
were religious and usually
depict religious icons.
 As painting became more
popular, the subjects of the
paintings diversified.
 With the rise of the Ilustrado
class, came the increase of
portraits, landscapes, and still
lifes.
 Damian Domingo opened
the first fine arts school in
the Philippines, Academia
de Dibujo, where he taught
a miniaturist style; and
because of him, a chain
reaction of art schools
began to open where both
miniaturist and classical
styles of painting were
taught.
 With tensions rising between
the Spanish and the Filipinos,
some painters created paintings
with the reason to incite the
Filipino people to see the
situation they are in.
 One such example is the
Spoliarium by Juan Luna.
 But, not much paintings were
produced during the
Revolutionary period due to the
ongoing battles.
 Painters in this era favored the
still-lifes, landscapes, and
portraits like the Ilustrados
plus many artists were also
commissioned to paint for
wealthy patrons, usually
foreigners.
 Fernando Amorsolo gained
fame for his artworks
depicting the daily lives of
Filipinos in which his paintings
are colored in bright shades of
yellow and having captured
the essence of both the natural
sunlight in the Philippines and
the likeness of the Filipino
people.
 Amorsolo taught in the College of Fine Arts in UP and some students tried to emulate his
style, thus the Amorsolo school of art was formed.
 Some artists wanted to steer away from the standard Amorsolo style thus they instead took
inspiration from the Modernists in the US.
 The existed a triumvirate of modern art during this era which included Victorio Edades,
Carlos Francisco, and Galo Ocampo. They openly challenged the Amorsolo style of art.
 The Japanese Era
temporarily put a halt to
the development of art in
the Philippines where
instead paintings were
used more for
propaganda. Pro-
Japanese, some neutral,
and some anti-Japanese
paintings were
produced.
 The Post-War Era continued the debates between the two opposing schools of art,
the Classical/Conservative Amorsolo School and the Modernist Triumvirate of
Edades, Francisco, and Ocampo.
 The Triumvirate became the core of a larger group of modernists called the
Thirteen Moderns.
 The establishment of the Art Association of the Philippines (AAP) and the
Philippines Art Gallery (PAG) paved the way for art competitions and gave
modernists a boost against the conservatives due to the top prizes being always
won by the modernists.
 The AAP resolved this by making two categories for painting, one for the
conservatives and one for the modernists.
 Eventually in 1955, the AAP Semiannual Competition and Exhibition had a walkout
of all the conservative artists where they removed their entries and exhibited them
across the street at a different venue from the exhibition venue.
 Thus in 1959, the AAP merged the two categories again.
 Some more recent and
famous artists of today:
 Vicente Manansala
(Cubism)
 Jose Joya (Abstract Art)
 Fernando Zobel
(Calligraphy)
 Nena Saguil (Circles)
 Anita Magsaysay-Ho
(Depiction of Filipinas)
PINTADOS BATUK
(Visayas) (Kalinga)
 LA SAGRADA LANGIT, LUPA,
FAMILIA IMPYERNO
Damian Domingo Josef Dias
1815 1805
ART PRINTS FROM THE ARCHIVES OF THE ROYAL BOTANICAL GARDEN IN MADRID
Jose Loden, Tomas Nazario and Miguel delos Reyes
1786
attempts to represent the subject matter truthfully, without artificiality and avoiding
artistic conventions, exotic and supernatural elements.

THE QUIAZON GOVERNOR

FAMILY RAMON BLANCO
Simon De La Rosa PORTRAIT
Flores Juan Luna
1880 1880’s
 PLANTING RICE
Fernando Amorolo
1921
RIVERVIEW OF STA. ANA
Fabian dela Rosa
1938
SPOLIARIUM
Juan Luna
1884
LAS VIRGENES CRISTIANAS EXPUESTAS AL POPULACHO
Felix Resureccion Hidalgo
1884
THE SKETCH BROWN
Victorio MADONNA
Edades Galo Ocampo
1928 1938
MADONNA OF THE SLUMS
Vicente Manansala
1950
 MACHINERY
Vicente Manansala
1962
DIMENSION OF FEAR
Jose T. Joya
1981
 MONDAY
Lee Aguinaldo
1959
 Chinese brushwork
technique
 Letras y Figuras
 Miniaturism
 Fresco painting
 Mural
 Watercolor painting
 Oil on canvas
OIL CANVAS

WATERCOLOR WOOD

ACRYLIC WALLS/CEILINGS
For the first few decades of Spanish colonization, paintings were
exclusively for religious purposes. The art form was then used
to spread Catholicism over the animist natives. A perfect
exhibition of this desire would be the depiction of heaven and
hell to let Filipinos know that if they refuse Catholicism, they will
face eternal damnation.

Painting was also used to show the power of the people,

especially when revolutionary movements were done. Works
such as the Basi Revolt and Spoliarium had the power to open
the eyes of the Filipinos to the reality that the country is being
abused.
Paintings were used in order to awaken the minds of the people
in the time of chaos in our society. It was through paintings that
people were able to express their opinions and current state of
the society. It is widely seen in the Martial Law Era.

Nowadays, paintings are evolving into more of self-expression

of the current generation’s reaction to the kind of society we
have. Post-modernism has become widely practiced.
 In the field of painting, Filipino visual artists depicted
women in their painting as women who are influential
and with authority, women who are engaged in
domestic activities and women are under the control of
influential men in the Philippines or foreign men. Pretty
much confining in the gender roles assigned in the
patriarchal society in the Philippines. For example are
the paintings of Amorsolo, Filipino women are
displayed as to a ‘blushing’ women or somehow of an
ideal Filipina. Unlike how what women usually look like
in real life.
 Compared to Juan Luna who depicted women in a
different light. In his painting known as España y
Filipinas ("Spain and the Philippines", 1886), Luna used
symbolism and allegory by rendering a taller and
strong-shouldered maternal Spaniard woman
(representing Spain and colonialism) guiding a shorter,
graceful and "humbly dressed" Filipino woman
(representing the Philippines) towards the way
to progress.
 In the upcoming years, Women in Philippine art always become
subjected as to how the current society functions. Compared to
before, since more Filipina artists emerged and became eminent in
the field of painting, the complexity of women’s struggle and the
issues of the women sector was more shown and displayed through
paintings such as Lyd Arguilla, Brenda Fajardo and many more.
 Paintings were able to depict the daily lives of
Filipinos back in the rural areas of the country.
It is eminent with the still life and realist
paintings of Fabian dela Rosa and Fernando
Amorsolo.

 It is also through the birth of different artistic

styles and movement that artist were able to
express different perspectives of the everyday
life in the Philippine society. Such as the pre
and post Martial law in the Philippines.
Paintings back then were important in
knowing the plight of the Filipino people
which are not seen in the mainstream media
outlets and venues that were controlled by the
government back then.
 http://ncca.gov.ph/subcommissions/subcommission-on-the-arts-sca/visual-
arts/the-spanish-colonial-tradition-in-philippine-visual-arts/
 http://ncca.gov.ph/subcommissions/subcommission-on-the-arts-sca/visual-
arts/the-american-and-contemporary-traditions-in-philippine-visual-arts