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He is acknowledged as one of the great Filipino painters of the late 19th century, and is significant in Philippine history for having been an acquaintance and inspiration for members of the Philippine reform movement which included José Rizal, Marcelo del Pilar, Mariano Ponce and Graciano López Jaena, although he neither involved himself directly in that movement, nor later associate himself with the First Philippine Republic under Emilio Aguinaldo. His winning the silver medal in the 1884 Madrid Exposition of Fine Arts, along with the gold win of fellow Filipino painter Juan Luna, prompted a celebration which was a major highlight in the memoirs of members of the Philippine reform movement, with Rizal toasting to the two painters' good health and citing their win as evidence that Filipinos and Spaniards were equals. Juan Luna y Novicio (October 23, 1857 — December 7, 1899) was an Ilocano Filipino painter, sculptor and a political activist of the Philippine Revolution during the late 19th century. He became one of the first recognized Philippine artists. His winning the gold medal in the 1884 Madrid Exposition of Fine Arts, along with the silver win of fellow Filipino painter Félix Resurrección Hidalgo, prompted a celebration which was a major highlight in the memoirs of members of the Propaganda Movement, with the fellow Ilustrados toasting to the two painters' good health and citing their win as evidence that Filipinos and Spaniards were equals. Regarded for work done in the manner of the Spanish and French academies of his time, Luna painted literary and historical scenes, some with an underscore of political commentary. His allegorical works were inspired with classical balance, and often showed figures in theatrical poses. Fernando Amorsolo y Cueto (May 30, 1892 – April 24, 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. He is popularly known for his craftsmanship and mastery in the use of light. Born in Paco, Manila, he earned a degree from the Liceo de Manila Art School in 1909 A typical Filipina country woman as portrayed by Amorsolo. This painting also demonstrates his characteristic backlighting technique. 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. He said that the women he painted should have "a rounded face, not of the oval type often presented to us in newspapers and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked. ... So the ideal Filipina beauty should not necessarily be white complexioned, nor of the dark brown color of the typical Malayan, but of the clear skin or fresh colored type which we often witness when we met a blushing girl."
Amorsolo used natural light in his paintings and developed the backlighting technique, which became his artistic trademark and his greatest contribution to Philippine painting.HYPERLINK \l "cite_note-Encyclopedia-2"HYPERLINK \l "cite_noteGlobalPinoy-7" 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 only one rainy-day scene. Vicente Silva Manansala (January 22, 1910 - August 22, 1981) was a Philippine cubist painter and illustrator. Manansala was born in Macabebe, Pampanga. From 1926 to 1930, he studied at the U.P. School of Fine Arts. In 1949, Manansala received a six-month grant by UNESCO to study at the Ecole de Beaux Arts in Banff and Montreal, Canada. In 1950, he received a nine-month scholarship to study at the Ecole de 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. Manansala developed transparent cubism, wherein the "delicate tones, shapes, and patterns of figure and environment are masterfully superimposed". A fine example of Manansala using this "transparent and translucent" technique is his composition, Kalabaw (Carabao). Vicente Manansala, a National Artist of the Philippines in Visual Arts, was a direct influence to his fellow Filipino neo-realists: Malang, Angelito Antonio, Norma Belleza and Baldemor. The Honolulu Academy of Arts, the Lopez Memorial Museum (Manila), the Philippine Center (New York City) and the Singapore Art Museum are among the public collections holding work by Vicente Manansala. Carlos V. Francisco (1914-1969) In 1973, Carlos “Botong” Francisco was the second Filipino to receive the title of National Artist in Painting, after Fernando C. Amorsolo. Also known as the Poet of Angono, he single-handedly brought back the art of mural painting in the Philippines and was its most distinguished painter in his time. He was on the forefront of modernist art in the country, and with Victorio C. Edades and Galo B. Ocampo became part of “The Triumvirate” of modern art. His is best known for his historical epics, and one of his favorite subjects is fisherfolk. His images of women came from mythology, history, legend, customs and contemporary life. On November 4, 1914, Francisco was born to Felipe Francisco and Maria Villaluz in Angono, Rizal. He went to college at the University of the Philippines School of Fine Arts, and before the Second World War did illustrations for The Tribune and La Vanguardia. Although he came from the same school of arts as Amorsolo, he veered away from the style of the traditional artist and developed a modernist style. Together with Victorio Edades and Fermin Sanchez, he painted for the Manila Grand Opera House and the Clover Theater. He and Edades started mural-painting, and together they formed the Thirteen Moderns, a group of modernists, in 1938. After the Second World War, he taught at the University of Santo Tomas School of Fine Arts at the same time that he was doing work in cinema with Manuel Conde. He worked as a scriptwriter for films such as “Genghis Khan,” “Putol na Kampilan,” and “Tatlong Labuyo.” In addition, he designed costumes for films such as
“Romeo at Julieta,” “Prinsipe Tenoso,” “Ibong Adarna,” “Siete Infantes de Lara,” and the “Juan Tamad” series. Francisco further enhanced his art in mural painting as he, together with Edades and Ocampo, was commissioned to do several murals for lobbies and private residences. They developed the Filipino imagery in their work, taking images from the customs and traditions of the people. Some of the murals they worked on as a triumvirate are Rising Philippines for the Capitol Theater, murals for the Golden Gate Exposition, the State Theater, and the private residences of President Manuel Quezon, Ernesto Rufino and Vicente Rufino. However, his major masterpiece is the mural he did for the Bulwagang Katipunan of the Manila City Hall. After Francisco’s death on March 31, 1969, what came to be known as the Botong Francisco School of Painting grew, exemplifying lyricism and heroism.
show there in 1954. He was later sent to represent the country at the Venice Biennial in 1964. In 1981, he held a retrospective of his works at the Museum of Philippine Art. Joya was president of the Art Association of the Philippines from 1962 to 1965 and dean of the U.P. College of Fine Arts from 1970 to 1978. In addition, he was chairperson of two delegations to China, in 1961 and 1972, and Amorsolo Professorial Chair at the U.P. in 1985. He also served as Head of the National Commission for Culture and the Arts Committee on Visual Arts (NCCA-CVA) from 1987 until his death in 1995. Guillermo E. Tolentino was born on 24 July 1890 in Malolos, Bulacan. His parents were Isidro Tolentino and Balbina Estrella. Tolentino first learned how to draw while attending intermediate school in Malolos, under his teacher, H.A. Bordner. He took up his secondary studies at the Manila High School, then pursued a degree in fine arts in 1915 at the University of the Philippines. In 1919, Tolentino went to the United States to pursue further studies, as he had received a scholarship grant from Bernard Baruch of New York University's Beaux School of Arts. He graduated from New York University with honors in 1921. That same year, Tolentino traveled to Europe to visit the worked renowned museums and art galleries in London and Paris. He then went to study in Regge Istituto di Belle Arti in 1922. It was in Rome that Tolentino had his first solo-artist exhibition. He also won second prize in an art competition for his composition Apat na Mangangabayong Apokalipsis (Four Horsemen of the Apocalypse). He returned to the Philippines in 1924, and became a professor at the University of the Philippines' School of Fine Arts in 1926. Later, he would be appointed as the school's secretary. In 1932, Tolentino married Paz Raymundo. They had a family of seven children. From 1953 to 1955 Tolentino also served as the School of Arts' director. He retired in 1955 as professor emeritus. In 1973, Tolentino was named National Artist for Visual Arts for his works in the field of sculpture. He died in 1976. Guillermo Tolentino was known as a master in classical sculpture. He received national recognition for his work on the Bonifacio Monument, the design for which was chosen in a competition organized by sculptor Vicente Francisco, and architects Andres Luna de San Pedro and Tomas Mapua. The call for designs for the monument was made on 29 August 1930. Tolentino's winning design featured an obelisk with a bird of freedom perched atop of it. Around the monument's base stand life-size figures of members of the Katipunan led by their leader Andres Bonifacio. The monument is now a major landmark of Caloocan City. One of the metro's light rail transit (LRT) stations is located near the landmark, and is accordingly called “Monumento.” Tolentino also sculpted the UP Oblation. The statue was commissioned in 1935 by then University President Rafael Palma. It was originally located at the UP Manila campus in Ermita, but was moved to the Diliman campus in celebration of the university's 40th anniversary.
Mauro Malang Santos ("Malang") is known for his colorful genre paintings that feature simplified forms. Barrio Fiesta, commissioned in 1958 by the FGU-Insular Life Building, is among his paintings. He was born in Santa Cruz, Manila, on January 20, 1928. He started taking drawing lessons under Teodoro Buenaventura when he was ten. He developed his reputation first as a cartoonist, then later as a painter. Together with other well-known artists, he launched "Art for the Masses" in 1966 in order for art to become accessible to more consumers through prints at reasonable prices. He is also one of the 1963 TOYM Awardees. His art has lately become more abstractionist. Still, his works often portray his signature images of women in traditional dress with fruits in baskets and bilao. Vivid colors straight from the tube, unmixed, continue to dominate his canvases. He still continues to experiment in the use of various media. In January of 2007, he celebrated his 78th birthday, as he has been doing yearly for some time, with an exhibit of recent works at the Art Center in SM Megamall. Malang has four children with wife Mary San Pedro. Two of them, Steve Santos and Soler Santos, are also painters. A painter and multimedia artist, Jose T. Joya was named National Artist in Visual Arts in 2003. Having early traditionalist training, he eventually steered to a direction of his own. Known as an Abstract Expressionist, he adopted the values of kinetic energy and spontaneity in painting, mastering the art of gestured paintings, where paint is applied spontaneously using broad brush strokes. Aside from painting, he also designed ceramic vessels, plates and tiles, and worked with graphic arts like printmaking. Son of Jose Joya, Jr. and Asuncion Tanig, Joya was born in Manila on June 3, 1931. He became interested in sketching as early as the age 11, and wanted at first to take up architecture, but decided not to pursue it because of the math and science subjects. Under a scholarship, he entered the University of the Philippines College of Fine Arts in 1950, where he had traditionalist mentors like Guillermo Tolentino, Ireneo Miranda, Dominador Castañeda and Virginia Agbayani. He earned his Bachelor’s Degree in Fine Arts in 1953, the university’s first magna cum laude. After that, he studied in Madrid from 1954 to 1955 under a grant from the Spanish government’s Instituto de Cultura Hispanica. He got his Master’s Degree in Painting at the Cranbrook Academy of Art in Michigan where he studied under Zoltan Zepeshy from 1956 to 1957 under a FulbrightSmith-Mundt grant. He then received another grant, this time from the John D. Rockefeller III Fund and Ford Foundation, to study at the Pratt Graphic Art Center in New York from 1967 to 1969. He participated in the first Exhibition of Non-Objective Art in Tagala at the Philippine Art Gallery in 1953, and then held his first one-man
Tolentino was also the artist who designed the medals for the Ramon Magsaysay Awards, as well as the seal of the Republic of the Philippines. Napoleón Isabelo Veloso-Abueva (born January 26, 1930), more popularly known as Napoleón Abueva, is a Filipino artist. He is a sculptor given the distinction as the Philippines' National Artist for Sculpture. He is also entitled as the "Father of Modern Philippine Sculpture". He is the only Boholano given the distinction as National Artist of the Philippines in the field of Visual Arts. Napoleon Abueva, nicknamed Billy, was born on January 26, 1930 in Tagbilaran, Bohol to Teodoro Abueva, a Bohol congressman and Purificacion (Nena) Veloso, president of the Women’s Auxiliary Service. His father was a friend and contemporary of former Philippine President Manuel Roxas and Ambassador Narciso Ramos. He was a member of the Provincial Board, and later became the Provincial Governor of Bohol. He ended his career as a Congressman in 1934. Both of Abueva's parents died serving their country. Abueva has six other brothers and sisters: Teodoro (Teddy), Jr., now based in New York, USA; Purificacion (Neny -deceased), married to Atty. Ramon Binamira (dec.) of Tagbilaran City; Jose Abueva (Pepe), former president of the University of the Philippines; Amelia Martinez (Inday), now living in Chicago; Teresita (Ching) Floro, now living in Sydney, Australia; and Antonio (Tony), a landscape artist who met a tragic fate aboard Princess of the Orient; his body has not been found. In 1943, at the height of the Second World War, Napoleon Abueva became an unwilling victim of the atrocities of the Japanese. With his father, a leader in the underground movement, and his mother in the women's Auxiliary group, the family was hunted. His parents were captured, tortured, and killed in Valencia. Billy was then only 14 years old, but this did not spare him from the brutality of the invaders. He accompanied his grandmother to Ilaya, Duero where they were captured by some Japanese soldiers. His grandmother was later freed, but he was hog-tied, brought to Guindulman, and tortured for more than a week. He lost his front teeth, and the blue-black marks on his wrists and ankles took weeks to heal. As a young boy, Billy studied at the Tagbilaran Elementary School, and later at University of Southern Philippines, Holy Name College (now Holy Name University), and Rafael Palma College (now the University of Bohol) before making it as a sculptor. A home-grown talent, he was given a break in 1951 when he won the Pura Villanueva-Kalaw Scholarship. He then took up a Bachelor's degree in Fine Arts at the University of the Philippines where he graduated in 1953. This was followed by a Fulbright-Smith Mundt Scholarship in 1954-55, after which he got a foreign Students Scholarship at the University of Kansas (1955-56). At the same time, he won another scholarship at the Instituto de Allende in Mexico City which he did not avail due to conflict in schedule. It was also in 1955 that he finished his Masters in Fine Arts at the Cranbook Academy of Arts, U.S.. In 1956, he attended Harvard University for another scholarship grant. At U.P, one of his mentors was Guillermo Tolentino, also a national artist, who created the oblation at the university entrance . Tolentino later relegated to him the task of replicating the sculpture for the Campus of U.P. Los Banos. Abueva has helped shape the local sculpture scene in the Philippines. Being adept in both academic representational style and 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.
In 1976, he was proclaimed as National Artist of the Philippines for Visual Arts by then President Ferdinand Marcos. He was the youngest recipient of the title at age 46. Some of his major works include Kaganapan (1953), Kiss of Judas (1955), Thirty Pieces of Silver , The Transfiguration, Eternal Gardens Memorial Park (1979), UP Gateway (1967), Nine Muses (1994), UP Faculty Center, Sunburst (1994)-Peninsula Manila Hotel, the bronze figure of Teodoro M. Kalaw in front of National Library, and murals in marble at the National Heroes Shrine, Mt. Samat, Bataan. One masterpiece he dedicates to the Boholanos is the Sandugo or Blood Compact shrine in Bohol, Tagbilaran City, a landmark at the site of the first international treaty of friendship between Spaniards and Filipinos. This is now a tourist attraction in Bohol province. This shrine is an expression of Abueva's awareness of his roots, and a manifestation of his artistic talents. Abueva also performed the death mask procedure of opposition leader Ninoy Aquino in 1983, as well as that of Fernando Poe, Jr. in 2004. Both masks are now displayed at the Center for Kapampangan Studies, Hacienda Luisita, Tarlac. Incidentally, he also made a death mask of Cardinal Sin. He is married to Cherry Abueva, a psychiatrist, and has three children, Amihan,Mulawin, and Duero. Before his stroke, he used to teach at the Industrial Design department of the De La Salle-College of Saint Benilde School of Design and Arts.
"Thong Song" This thing right here Is lettin all the ladies know What guys talk about You know The finer things in life Hahaha Check it out Ooh dat dress so scandalous And ya know another nigga couldn't handle it See ya shakin that thang like who's da ish With a look in ya eye so devilish Uh Ya like to dance at all the hip hop spots And ya cruise to the crews like connect da dots Not just urban she likes the pop Cuz she was livin la vida loca [BRIDGE] She had dumps like a truck truck truck Thighs like what what what Baby move your butt butt butt Uh I think to sing it again She had dumps like a truck truck truck Thighs like what what what All night long Let me see that thong [CHORUS] I like it when the beat goes da na da na Baby make your booty go da na da na Girl I know you wanna show da na da na That thong th thong thong thong I like it when the beat goes da na da na Baby make your booty go da na da na Girl I know you wanna show da na da na That thong th thong thong thong
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