I.
Description  contrary to Jose Rizal’s estimation that Luna was a “Hispanophile”, or a person who could never go against Spain, the
España y Filipinas - Artist: Juan Luna -Dimensions: 97 3⁄4 in x 31 1⁄3 in or 229.5 cm x 79.5 cm
Oil on Canvas - 1886, probably painted in Paris
this painting is an allegory of the relationship between Spain and the Philippines
the figure representing Spain (left) guides the Filipina figure (right) towards a radiant dawn
The Spaniard woman, or “Mother Spain”, was drawn with fair, white skin while the Filipino woman, or “Inang Bayan”,
was illustrated gracefully and with brown skin - Both women were wearing traje de mestiza
both women have their back to the viewer, heading toward far away horizon
Espana y Filipinas is an allegorical painting, using two female figures to represent the colonial relationship between Spain
and the Philippines. Juan Luna was an accomplished academic painter, and this painting shows his mastery of nineteenth
century visual conventions. The work was painted at the height of Luna's career, following his public acclaim for the
monumental canvas, The Spoliarium
II. Narrative Discussion
 also known as España Guiando a Filipinas (Spain Leading the Philippines) and España Guiando a Filipinas al Camina de
Progreso (Spain Leading the Philippines on the Road to Progress)
 The painting appeared in the book entitled El legado de España a Filipinas or "the Spanish legacy in the Philippines" with
the accompanying caption stating: España guiando a Filipinas por la senda del progreso (“Spain leads the Philippines on
their way to progress”)
 in contrast, Spoliarium, Luna’s most famous painting (also of 1884), is understood as an anti-colonial critique
 It is further described as a painting that once linked the colonized with its former colonist, a “bucolic allegory” of the
master and the servant “walking hand-in-hand”
 España Y Filipinas may reflect the views of its original patron rather than those of the artist
 made for Luna’s nationalistic intellectual friend, Pedro Paterno (Feb 17, 1857 – Apr 26, 1911), who was once one of the
country’s premier intellectuals, blazing trails in Philippine letters, and also the greatest and original balimbing in
Philippine Political History
 the historian Ambeth Ocampo sums up his career thus:
“Remember, Paterno was one of the greatest ‘balimbing’ or turncoat in history. He was first on the Spanish
side, then when the declaration of independence was made in 1898, he ‘wormed his way to power’ and became President
of the Malolos Congress in 1899, then sensing the change in political winds after the establishment of the American
Colonial Government, he became a member of the First Philippine Assembly.”
 apparently, Juan Luna made at least 6 versions of España y Filipinas; among them, one is in the Lopez Museum in
Ortigas, one in the Ayuntamiento in Cadiz, one in the National Gallery of Singapore, one auctioned in Sotheby’s Hong
Kong for a hammer price of $3.5 Million
 entered the 1888 Exposición Universal of Barcelona and 1893 Exposición Historico-Natural y Etnografica de Madrid
 the painting is referenced in the Filipino reformist paper in Spain, La Solidaridad, which reproduced a speech Graciano
Lopez Jaena had delivered on Feb 25, 1889, at the Ateneo Barcelona discussing the Philippines’s participation in the
Universal Exhibition of Barcelona:
“Had it not been, gentlemen, for Luna’s immortal genius which contributed to that contest his painting entitled
Spain Leading the Philippines on the Road to Progress done with masterful but light strokes and revealing a genius’
brush whose bold colors produced marvelous effects; it has a surprising brave perspective, one of the enchantments of the
art and glory of the Philippines—had it not been for that, there would have been no exhibit from the Islands worth seeing.
However, I must point out a defect in it. Though incompetent, I take the liberty of criticizing the painting of the great
artist: it lacks a most important detail: a friar on the third step blindfolding the india with a handkerchief so that she
would not see the road to glory to which Spain is leading her. (Great laughter, deafening and prolonged applause).”
 Rizal expressed in a letter to Ferdinand Blumentritt dated April 10, 1889, that:
“Luna has always been a Hispanophile; he never wanted to paint anything against the Spaniards; his painting
‘España y Filipinas’ shows them on the road to the temple of glory, carried by that, now he is doubtful, he does not know
what to think or say.”
España y Filipinas portrait is a “less combative posture” of Luna for showing to Spain and the viewers of the painting the
needs of the Philippines at the time
 in this painting Juan Luna wanted to show the strong bond of Spain and Philippines. It also revealed the true hope and
desire of every Filipino to have an equal treatment between Spain and Philippines, even Spain leading the Philippines on a
progressive country.
 although an oil on canvas masterpiece that projected a close bond between Spain and the Philippines through feminine
figures, it is a propaganda painting that revealed the true hope and desire of Filipino propagandists during the 19th-
century: assimilation with Spain, reform, equality, modernization, and economic improvement
III. Symbolisms
Mother Spain – The taller and maternal figure of white woman is Spain, or “Mother Spain”, who represents a benevolent
image of colonialism, is pointing ahead and guiding the humbly and simply-dressed Filipina as they go up the staircase.
Side by side in the painting, Spain was shown to be leading the Philippines along the path to progress and development.
Inang Bayan – The other person is a Filipino woman or “Inang Bayan”, was illustrated gracefully and with brown skin, a
typical image of a Filipina that time. Inang Bayan was depicted to be keen on going up the stairs of progress towards a
bright future.
Traje de Mestiza - The traje de mestizas show the cultural character, class-consciousness, and social transformations
resulting from 19th century Hispanization. As we compare the dress of both woman, the Spaniard woman is wearing more
elegant dress compared to the Filipino woman who only wore our traditional dress albeit being more simpler and
beautiful. The dark purplish-red or wine coloration of Mother Spain’s traje de mestiza indicates nobility, power, wisdom,
dignity and ambition that they possess along the path to progress that they can share with other countries while Inang
Bayan’s sky blue traje de mestiza indicates trust and confidence that we must possess for Mother Spain and our debt to her
for showing and guiding us all the way to progress.
Staircase - the staircase is a symbol of path to progress, suggesting the benevolence of Spanish colonialism.
Bright Dawn – symbolizes the attainment of success and prosperity; can also refer to a new set of possibilities.
Flower – flowers symbolize wealth, fortune and prosperity. Combined with the staircase that symbolizes the path to
progress, the scene suggests that following the guidance of Mother Spain will definitely lead to progress and development
that we all seek. They also represent hospitality and purity, in this case, Mother Spain entertaining the humble Inang
Bayan on the road to progress without expecting anything in return, just trust and confidence to her. One such flower
depicted in the painting is rose that symbolizes promise, hope and new beginnings that comes with the path to progress.
Quill – Inang Bayan is depicted in the painting holding an object that closely resembles a quill. It symbolizes freedom not
only because it is an instrument that empowers one to express his feelings and opinions, but also because it is originally
part of a large bird particularly from it’s wing. By being able to fly anywhere it wants to, and be able to look at things
from different perspectives, that is freedom.
Cotton Plant – upon closer inspection, a cotton plant can be seen bearing it’s filamentous fruits on the bottom part of the
staircase. Seeing this particular plant means a new beginning is about to start, or one is beginning to be awakened. It is a
prophecy that assures progress and success at the end of the journey.
Wreath – The two women can be seen wearing wreaths of different plants on their hair. Mother Spain wears golden laurel
wreath that symbolizes victory, honor, nobility, grandeur and peace that they had gained from their long past. Inang Bayan
can be seen wearing a wreath made of Sanpaguita flowers that symbolizes fidelity, purity, devotion, strength and
dedication that Filipinos and Filipinas possess.