Lesson 2.

3 The Development of Visual Arts in the Philippines

Introduction

The historical development of Arts in the Philippines may be traced into three
periods (1) Spanish Period (2) American Period and (3) Modern Periods. Early Filipino’s
painting be manifested today among the arts and architecture of the Maranao who are
well known for the Naga dragons and the Sarimanok and printed in beautiful Panolong
of their Tarogan or King’s House.

Among Philippines Visual Arts are paintings, Ethnic art which is the native
indigenous Philippine design and the Folk at which is the people’s Craft as well as
handicrafts. The most common and famous folk art motifs are the Serpent Demon of the
Naga. The Sarimanok and Tattoo Art.

Objectives:

1. Discuss the development of Visual Art in the Philippines

2. Identify the visual art in the Philippines
3. Appreciate the artistic design and motif in the visual art of Filipinos.

Contents:

Painting during the Spanish Period

The first stone churches were built in Intramuros in the 17 th century. Painting in
the churches started in Manila area with the priests as painter-decorators. The
Augustinian fathers also offered drawing lessons to the Filipinos. Native Filipino painter
had the freedom to choose the colors of figures. Early religious painting had similarities
with European works. Some of the painters during the period were Jose Dans, Damiano
Domingo, Justiniano Asuncion, and Alfonso Ongpin.

The Academia

A royal Decree promulgated on March 13, 1846 founded the Academia de Dibujo
y Pintura in the City of Manila. Agustine Saez, the Director, was the lone faculty
member. Lorenzo Rocha who succeeded Saez as Director joined the school in 1867.
Simon Flores y de la Rosa was one of those who studied at the Academia. He created
most of his religious canvases using paints. Some of his paintings include Saint John
the Baptist, Madonna and Child , and Feeding Chickens.

19th Century Masters

Juan Luna and Felix Resurreccion Hidalgo received high honors abroad for their
works. While Juan Luna was in the Philippines, he studied under Saez, Rocha, and
Guerrero. His Spolarium won him a gold medal in the Exposicion Nacional de Bellas
Artes.Prior to Spolarium, he painted La Muerte de Cleopatra in 1881in RomeHe also
painted El Pueblo y Los Reyes, Blood Compact, and Portrait of Legaspi. Luna
succumbed to heart attack in 1899 in Hongkong..

Painting During the American Period

The Philippine Arts During American Colonization

FOREWORDS The 1896 Philippine Revolution paved the way to the country’s
independence from Spain. However, it became a short-lived liberty when the Americans
became the country’s new invaders. From one colonizer to another – after more than
three centuries of Spanish rule, the Americans came. They set out to conquer the
Filipinos through education and governance – the public school system and a system of
government.
IN THE FIELD OF ARTS… With the arrival of the new colonial power came a shift in art
patronage – from the native ilustrados to the Americans. The new patrons, including the
tourists and foreign investors, favored landscapes, still life, and genre themes that show
the beauty of the land and its people. Portraits were still favored by the public officials,
usually depicting them in dignified poses. There from, the American Colonization
brought high influence to the major Filipino art forms: paintings, sculptures and
architectures.
Here goes the timeline of the Philippine paintings under American colonization…
Fabian dela Rosa (1869 – 1937) was the first painter of note for the 20th century. He
was noted for his realistic portraits, genre, and landscapes in subdued colors. He was
enrolled at the Escuela de Bellas Artes y Dibujo and took lessons from Lorenzo
Guerrero. De la Rosa is often considered the brightest name in Filipino painting and
certainly the most important for the first quarter of the century
Fernando Amorsolo, who captured the attention of the public and the buyers, and had a
long artistic career. Spanning for more than half a century, his influence is still evident in
some of today’s painters. He was named as the country’s first National Artist in 1972.
Fernando Amorsolo y Cueto (1892 – 1972). His paintings, bursting with yellow-orange
and golden sunlight, captured the Philippine landscape in all its glory. If de la Rosa’s
work were of subdued, cool colors, then Amorsolo’s landscapes are bathe in the
glorious Philippine sunlight. He is the first and among the few Filipino painters who have
captured the different striking colors and character of the country’s magnificent sunlight.
FILIPINOS AND THE PHILIPPINES He is the first and among the few Filipino painters
who have captured the different striking colors and character of the country’s
magnificent sunlight. Besides his landscapes, Amorsolo also idealized the rural life of
the working men and women. He depicted farmers and fisherfolks doing their work
without much effort, seemingly enjoying themselves in their arduous tasks. His depiction
of the ever-smiling dalagang bukid is another trademark. Amorsolo was able to show
the ideal beauty of the Philippine landscape, the Philippine rural life and the Filipinas.
GINEBRA SAN MIGUEL Dabbled into advertising , book design and new forms brought
by the Americans, Amorsolo made several book and magazine cover designs. He also
designed for commercial products, the most famous of which is the “Markang Demonyo”
for Ginebra San Miguel, a local alcoholic drink.
MOREOVER… The Americans established the University of the Philippines, the
country’s State University, in 1908. The School of Fine Arts was established in 1909
with Fabian dela Rosa as its first Dean. It would function as the local academy for art.
Amorsolo, being a faculty member and subsequently as the Dean of the U.P.

Painting in the Philippines During the Modern Period

 The establishment of the Art Association of the Philippines in 1948 and the
Philippine Art Gallery in 1950 helped much to introduce modern art to the populace, to
support its struggle against conservative art, and to create patronage among art-buyers.
In the sixties and seventies, modern art has firmly secured itself in the cosmopolitan art
world of Manila, although the question of what is Filipino in this art, as in all the other
arts, has continually followed its development from the fifties to the present.
The rift between the conservatives or those who subscribe to the Amorsolo and
Tolentino style of painting and the "Moderns" led by Edades would resurface in the AAP
art competition as most of its winners had modernist inclinations. Feeling that the
judges' decisions were biased, the artists who continued to practice in the conservative
tradition walked out as a form of protest and exhibited their works on the streets. These
artists were eventually more popularly associated with their studios lining the street of
Mabini, Manila. Today, they are also referred to as Mabini painters.
Their works demonstrate the influence of various Western art styles such as post-
impressionism, abstraction, cubism, expressionism, and surrealism.
In history, NEO REALISM/ STRUCTURAL REALISM focuses on the significance
that POWER implies with International Relations POWER, in the paintings of the first
Filipino Realists, is evident in the themes of: 1. Nationalism 2. Socio-political status of
the country 3. Everyday life of the masses 4. Art for art’s sake
The Contrast A distinct figurative work which exposes dire human conditions
amid the backdrop of modernity Genesis He puts together warm-colored shapes. With
proper lighting, it glows with the intensity of red-hot embers, and emanating from its
three-dimensional center are what seem to be claws or tongues of fire reaching out to
the viewer.
Fertile Valey (1972) Tagaytay Revisited (1976) He was interested in how shapes,
values, textures and lines interact with one another in space rather that capturing a
realistic semblance of nature. The Beggars Consists of the image of two women with
emaciated bodies, their forlorn faces set against a dark background capturing the
dreariness of poverty. Tuba Drinkers Many of Manansala's paintings are characterized
by transparent cubism, a style marked by the soft fragmentation of figures using
transparent planes instead of hard-edged ones, as exemplified in the painting Tuba
Drinkers. Vicente Manansala depicts the poverty, simple and everyday life of Filipinos in
his paintings using cubism. Madonna of the Slums (1950) Luksong-Tinik (1973) Man,
Girl & Cock (1953)

Painting in the Philippines During the Modern Period

The establishment of the Art Association of the Philippines in 1948 and the
Philippine Art Gallery in 1950 helped much to introduce modern art to the populace, to
support its struggle against conservative art, and to create patronage among art-buyers.
In the sixties and seventies, modern art has firmly secured itself in the cosmopolitan art
world of Manila, although the question of what is Filipino in this art, as in all the other
arts, has continually followed its development from the fifties to the present.
The rift between the conservatives or those who subscribe to the Amorsolo and
Tolentino style of painting and the "Moderns" led by Edades would resurface in the AAP
art competition as most of its winners had modernist inclinations. Feeling that the
judges' decisions were biased, the artists who continued to practice in the conservative
tradition walked out as a form of protest and exhibited their works on the streets. These
artists were eventually more popularly associated with their studios lining the street of
Mabini, Manila. Today, they are also referred to as Mabini painters.
Their works demonstrate the influence of various Western art styles such as post-
impressionism, abstraction, cubism, expressionism, and surrealism.
In history, NEO REALISM/ STRUCTURAL REALISM focuses on the significance
that POWER implies with International Relations POWER, in the paintings of the first
Filipino Realists, is evident in the themes of: 1. Nationalism 2. Socio-political status of
the country 3. Everyday life of the masses 4. Art for art’s sake
The painting shows the response of Mang Juan, a typical Filipino worker, to the
upsurge of foreign colonialism and the aggressive injection of Western influence. Itak sa
Puso ni Mang Juan is a feedback on the negative impacts of globalization or
commercialization in the Philippines.

Development of Sculpture in the Philippines

Sculpture during the Spanish Period
 Even before the Spaniards arrived in the Philippines in the early 16 th century,
some forms of native sculpture, mostly of idols, existed. Because of their pagan
origin,the native idols were destroyed by the Spaniards. In time, Christianity spread, and
so sculptures turned to religion for their subject matter. They carved images of saints,
crosses, crucifixes, and other religious objects. The blossoming of Filipino sculpture
started in the 19th century. An example of sculpture during this period is the Virgin, an
Araneta collection which displays an unconventional figure of the virgin. In this particular
sculp, the neck thick, her arms are bent, the face chubby and masculine, and the eyes
are large and set widely.

Sculpture developed very slowly in the Philippines. The sculptors learned from
their predecessors or from the experience of fellow sculptors.

The best examples of 18 th century images are the bas-relief Estaciones in the
church of Tanay; the image of the La Purisima Concepcion presumably left by
Salcedo’s men, also in Tanay; and the St. John and Christ at the Morong Church.
Realism developed fully in the Manila area in the 19 th century – there were not only
native sculptors but also Sanleys who were skillful in the craft. The well-carved images
and ornamentations in the Patio of San Agustin Church were of Baroque art. They were
done mostly in the 18th century.

Sculpture during the American Period

       If Amorsolo dominated Philippine painting for the first decades of the 20th century,
in sculpture it wasGuillermo Tolentino (1890-1976). Trained in the classical style in
Rome, Tolentino’s masterpieces include theOblation in the University of the Philippines
and the Bonifacio Monument in Caloocan. His Bonifacio monument is classical in
execution but romantic in content. Bonifacio, holding a bolo and a pistol, stands quietly,
dignified, resolute, but defiant. He is surrounded by dynamic figures of oppression,
struggle and revolution. Here, in Tolentino’s work, Andres Bonifacio remains strong
amidst the turbulent storm of the Revolution.
       His Oblation, the symbol of the country’s premiere State University, reflects the
classical ideals – discipline, order, symmetry, and restraint. It stands naked – resolute
and proud, with arms wide open to accept knowledge and change.
       In 1973, Tolentino was named as a National Artist for Sculpture. Several sculptors
followed the standards set by Tolentino, such as Anastacio Caedo and his
son Florentino.
        But it would be Tolentino’s student, Napoleon Abueva (b. 1930), who would go
against the standards, set by his teacher. Working with a variety of materials and
techniques, Abueva integrated the sculptural and functional qualities in his works. He
produced highly stylized, simplified, and eventually abstract works under the influence
of Moore and Brancusi. His works sometimes contain elements of eroticism, fun, wit,
and playfulness. His Kaganapan shows a woman in the height of her pregnancy. He did
away with the traditional, idealized, voluptuous muse of classicism and replaced it with
the beauty of a woman bearing a child.
        In the sixties and seventies, several sculptors followed the modernist road set by
Abueva such asSolomon Saprid, J. Eizalde Navarro, Lamberto Hechanova, Edgar
Doctor, Arturo Luz, Eduardo Castrillo, Jerry Araos, Virginia Ty-Navarro, and Francisco
Verano. Their exploration and experimentation of different materials, techniques, styles,
subject matter, and concept ensured a lively atmosphere for sculpture in the country.

The Development of Architecture in the Philippines

Architecture during the Pre-Spanish Period

Before the coming of the Spaniards, Filipino houses were made of light materials
bamboo palm, vine, grass, and wood. The pre-Spanish Filipino house had a pyramidal
roof. The walls were low; the floor was raised a few feet above
Architecture during the Spanish Period

A commemorated the 500th year of the Catholic Church in the Philippines

last March 16, I want to continue sharing with you an important part of the

heritage we received from Spanish colonization — the architecture of

churches, schools and other prominent structures in our country. Since the

16th century, these structures have served as enduring symbols of faith,

learning, governance and culture that have further enriched our history.

I mentioned last week that our treasured colonial churches are among our

country’s well-known works of architecture.

University of Santo Tomas Daily Tribune

According to Rev. Fr. Brian Brigoli, chairman of the Commission on the

Cultural Heritage of Church of the Archdiocese of Cebu, “The style of the

church should be marked by noble simplicity; it should be dignified, evincing

a noble beauty, not mere costly display, and it should stand as a sign and

symbol of heavenly realities.” He also mentioned that the design and layout
must follow the three natural laws of the Church: 1) the verticality that

represents people’s faith reaching to God in heaven; 2) permanence, which

symbolizes Christ’s presence demonstrated through the structure’s massing

and durability; and 3) iconography expressed through art.

Fort Santiago World Map website

One of the main architectural styles applied to the design of our churches was

the Romanesque style, which is characterized by arcades, arched windows,

large towers with round arches, and massive and thick walls, among others.

Prominent churches with this style include the Manila Cathedral and the Sto.

Tomas de Villanueva Parish in Cebu. The Baroque architectural style was

then introduced, which features a massive structural design, the use of either

stone or brick, wall buttresses, the use of vivid colors and rich interior

decorations and frescoes, among others. Our Baroque churches — the San

Agustin Church in Manila, Paoay Church in Ilocos Norte, Sta. Maria Church

in Ilocos Sur and Miagao Church in Iloilo — were included by Unesco in its

World Heritage List.

Manila Cathedral LiCas News Philippines
 
Maximizing and monetizing: Structures and spaces
 00:04/02:17:00

The National Commission for Culture and the Arts identified more than 20

Spanish colonial-era churches that represent the church-building orders of

Augustinians, Franciscans, Dominicans, Jesuits and Augustinian Recollects

and the Seculars. The National Museum also declared these as National

Cultural Treasures. To be part of this prestigious list, an item or place must

“possess outstanding historical, cultural, artistic and/or scientific value which

is significant and important to the country.” Included in the list are the four

aforementioned Baroque churches — the Manila Cathedral, Barasoain

Church in Bulacan, Betis Church in Pampanga, Calasiao Church and

Manaoag Church in Pangasinan, Masinloc Church in Zambales, Maragondon

Church in Cavite, Laoag Cathedral in Ilocos Sur, Church of Sta. Barbara in

Iloilo, and Baclayon Church in Bohol, among others.

Miagao Church Wikipedia

During the Spanish colonial period, the Spanish friars and missionaries were

put in charge of educating the Filipinos. Included in the Laws of the Indies

was the mandate to teach natives the basic catechism of the Catholic Church

and how to read and write. It also mandated the establishment of universities
and other educational institutions. Thus, schools were concurrently built with

churches. Prominent schools that were built during that time were the

University of Santo Tomas, Colegio de San Juan de Letran, Santa Isabel

College, San Carlos Seminary, Concordia College and the Ateneo Municipal

de Manila that is now known as the Ateneo de Manila University, among

others.
Paoay Church FLickr
Aside from churches and schools, other structures built during the Spanish

period that are now recognized as National Cultural Treasures are Intramuros,

Fort San Antonio Abad, Paco Park, the Twin Forts of Romblon Island and

many others. Established in 1571, Intramuros was the center of the Spanish

occupation for several centuries. The Walled City had 51 blocks where

government officials and the wealthiest and most influential citizens lived.

Inside its walls were churches, schools, government offices, military

barracks, hospitals and residences of the elite. Fort Santiago, Manila

Cathedral, San Agustin Church, Plaza de Roma, Baluarte de San Diego and

the Ayuntamiento de Manila are located within Intramuros.

Architecture of faith has greatly influenced arts and architecture in our

country. We at Palafox Associates and Palafox Architecture Group Inc. are

humbled and honored to have been appointed to be the architects and

planners of places of worship of various faiths.

Early Churches of Intramuros

Intramuros, as the seat of religious and political power during the Spanish Colonial Period,
was the home to seven grand church built by different religious orders.
 SAN AGUSTIN CHURCH. ...
 THE MANILA CATHEDRAL. ...
 SAN IGNACIO CHURCH. ...
 OUR LADY OF LOURDES CHURCH. ...
 SAN FRANCISCO CHURCH. ...
  SAN NICOLAS DE TOLENTINO CHURCH.

Early Churches in Northern Luzon

Northern Luzon
Leading the Visita Iglesia sites in the Ilocos region is Our Lady of the Rosary Church,
more popularly known as the Shrine of Our Lady of Manaoag, in Pangasinan.
People from other provinces gather at this shrine every Lenten season, but most
Pangasinan residents trek on foot on the night of Maundy Thursday, to reach the
church at dawn of Good Friday.
The church started as a modest chapel built by the Augustinians in 1600. The
construction of the church, which began in 1882, was completed in 1912.

The church was venerated due to an apparition there of the Virgin Mary 400 years
ago. An ivory image of the Virgin Mary, brought to the Philippines by Padre Juan de
San Jacinto from Spain via Acapulco hundreds of years ago, was enthroned in the
church in 1909. 
On April 21, 1926, Our Lady of Manaoag was canonically crowned.
In La Union, families on pilgrimage can visit the Church of Our Lady of Namacpacan
in Luna town.
Namacpacan was the name given by residents to the Virgin Mary who, according to
folklore, appeared to indigenous peoples of the Cordillera as an old woman who
offered them food and who convinced them to be baptized.
The Namacpacan church hosts the Virgin’s image which dates back to 1871. The
image was ordered from Spain by an Augustinian priest assigned to one of the towns
of Ilocos Sur.
In Ilocos Sur, a popular site for pilgrims is Nuestra Señora de la Asuncion Church in
Sta. Maria town. It is one of the baroque churches of the Philippines listed in 1993 on
the World Heritage List of the United Nations Educational, Scientific and Cultural
Organization.
Ilocos Norte’s most popular pilgrimage site is Badoc Church which is home to the
miraculous image of the Virgin Mary (La Virgen Milagrosa de Badoc) with the infant
Jesus wrapped in her arms.
The Laoag diocese proclaimed the wooden image of La Virgen Milagrosa de Badoc
as the patroness of Ilocos Norte on May 2, 1980. Badoc Church was the pilgrimage
site of the Great Jubilee Year 2000.
The wooden image, along with the image of the crucified Christ, Sto. Cristo
Milagroso, has been venerated for its miracles.
Both images, enclosed in a wooden box, were found washed ashore in the 1620s on
the beach of Dadalaquiten that borders Badoc town in Ilocos Norte and Sinait, Ilocos
Sur.
Cagayan’s most famous pilgrimage site is Our Lady of Piat Shrine  in Piat town, some
40 km from the capital Tuguegarao City. 
The shrine was built by Spanish missionaries to pacify the Itawits or Itawes, the native
settlers of western Cagayan, in 1604. It was elevated into a basilica minore in 1999.
Historical accounts also showed that the Lady of Piat saved Cagayanos from the 1624
drought.
Tourists and pilgrims have been visiting the shrine in Piat to seek the Lady’s help. The
miracles attributed to Our Lady of Piat are recorded in the basilica’s stained glass
windows.
In Isabela, an important site for pilgrims is Our Lady of Atocha Church in Alicia
town, which has been included in the Department of Tourism’s religious tourist
destinations in the country.
The church, made of bricks and features Spanish architecture, was built by Fr. Tomas
Calderon and inaugurated in 1849.
Most pilgrimages still end up in Baguio, the summer capital, often at Baguio
Cathedral (Our Lady of Atonement Cathedral), which was built in the 1920s.
Other churches
Aside from these 14 churches, pilgrims may also visit other historical churches in
central and northern Luzon.
Among these are St. Joseph Cathedral in Balanga City, Bataan; and Malolos Basilica
Minore (Malolos Cathedral), Nuestra Señora de la Asuncion Parish Church in
Bulakan town, Saint Francis Parish Church in Meycauayan City and Angat Parish
Church, all in Bulacan.
In northern Luzon, other important churches are the 406-year-old Bolinao Church, 
Calasiao Church established in 1596, Our Lady of Lourdes Church in Bugallon, all in
Pangasinan; Basilica of Our Lady of Charity, which is a shrine to the Lady of Agoo or
the Lady of Charity, in Agoo, La Union; and St. Paul’s Metropolitan Cathedral or
Vigan Cathedral in Vigan City, Ilocos Sur. 
In Ilocos Norte, some Ilocanos visit nine churches based on the nine-day rosary
novena (which requires the devout to pray the rosary for nine consecutive days) while
others visit 14 churches to represent the 14 Stations of the Cross.
Other famous Visita Iglesia sites in Ilocos Norte are St. William Cathedral and 
Carmelite Monastery Chapel (or Carmel Church) in Laoag City; the Catholic churches
in the southern towns of Batac, San Nicolas and Paoay, a world heritage structure;
other churches found in the eastern towns of Sarrat and Dingras; and Bacarra Church
in the north.

Read more: https://newsinfo.inquirer.net/379995/churches-to-visit-north-of-
manila#ixzz6ru89uhqx
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Early Churches in Pampanga and Bulacan

Lubao Church suffered heavy damage in 1942 because of Japanese shelling.

The roof and ceiling was damaged but the three-storey high retable escaped damage.

The san Miguel de Mayumo Church in Bulacan is noted for once beautifully
painted ceiling of the nave and dome. The decorations painted in local tempera
deteriorated but restored later.

The Barasoain Church (Malolos,Bulacan) has a façade with mixed features

“compuesto style.” It is of two stories crowned by curved pediment. The three-storey
high bell tower is octagonal.

Early churches in Rizal

The Morong Church façade is of local Baroque architecture. The façade is three
stories high. The cornices and balustrades of the first and second stories fit into the
curved recession.

Tanay Church, whose bell tower stands four stories high, was built in 1873. The
church façade is surmounted by a pediment. The first story is decorated with ionic
pillars and the second story with composite ones. The statue of St. Ildefonso is lodged
in the pediment niche
Early Churches in Laguna and Batangas

The Paete Church facade has two stories. Each story is treated like a freeze,
ornamented four petalled flowers and Nyzantine-like pilasters. And semi volutes.

The Pakil Church façade is of the composite order. A stilted arch rising from from
engaged composite columns frames the main altar.

The San Jose Church in Batangas was constructed with a two-story façade. The
engaged pillars became the pilasters. The peculiar angle terminations of the triangular
flaps turned in half volutes.

Early churches in the Visayas

The Miagao Church in Iloilo was constructed in the 18 th century using stones
gathered by the townsfolk. The “tobriya” gathered from altar distance were used for the
structural parts while the other types f stones, for ornamentation. Originally, the façade
has twin towers of unequal height with high relief stone carvings.

Early churches in Metro Manila

Tondo Church was redesigned by Luciano Oliverin 1873. The new façade was
compuesto. The dome structure is made of steel framing-the roofing with iron sheets

Quiapo Church’s location in the heart of the historical district of Manila makes it a

natural focal point for tourists exploring the city for the first time. Like Binondo Binondo
Church has suffered damage from several calamities ever since it was founded in 1596.
Destroyed by aerial bombardment in the British occupation of 1762, the church was
rebuilt, only to be ruined again in the earthquake that struck Manila in 1863. It was
painstakingly reconstructed on the same site in 1852 — only to be flattened again
during World War II.

The church, with its beautiful (and miraculously unscathed) ceiling frescoes, therefore
represents steadfast religious faith through multiple conflicts.
Church, Quiapo Church has also gone through numerous reconstructions — the dome
and façade are all that remain of the original Baroque-style building.

The church houses the Black Nazarene — an image of Jesus brought to the
Philippines in the 17th century that supposedly has miraculous healing powers.

The Malate Catholic Church was originally built in 1588 by the Augustinian friars
and considered to be the oldest church in Metro Manila outside the walls of
Intramuros. Over the past four centuries, the church has been reconstructed
several times. However, the statue brought from Spain in 1524 still stands. It is
now managed by Columban priests.

It is interesting to note that from an aerial view, you can see that Malate Church
is shaped like a cross

Architecture during the American Period

During the early stage of the American period repair, rehabilitation and
construction of buildings and other structures were done principally by army engineers
employed by Governor Taft.

Daniel H. Burnham, a Chicago architect was commission to design architectural

structures in Manila, Baguio, and other places. It took almost two decades before the
Burnham plan was carried out. Among the structures erected and specified in the plan
were Congress of the Philippines, Finance Building, Agriculture Building, Post Office,
and Supreme Court.

Concrete Buildings in Manila

The Philippine Normal School (now Philippine Normal University) and the
Philippine General Hospital (PGH) in Taft Avenue were the first big reinforced concerete
buildings erected in Manila. Tile was used in roofing, as specified in the Burnham Plan.
The PGH design was under the supervision of Tomas Mapua.
The Classic Style of Juan Arellano and Antonio Toledo

Both Juan Arellano and Antonio Toledo designed some of the Philippine
government buildings. The Congress of the Philippines building has a rectangular plan
with elaborate decorations. Corinthian columns dominate the huge portico. The
pediments of the double-pitched roof are decorated with sculptured figure.

The Post Office building designed also by Toledo and Arellano situated in Plaza
Lawton (now Liwasang Bonifacio) was erected in 1926. It was designed to cater to the
public. One side of the spacious lobby is a continuous counter with grills set with
windows at intervals.

Toledo also designed the UP buildings in Ermita, Manila. Arellano designed the
Villamor Hall in UP. Other classical architecture included the Pangasinan Provincial
Capitol which erected in 1920; Capitol building of Bacolod City. Classical architecture
became famous for its porticos and vestibules, colonnades, and arcades.

Architecture in the Contemporary Period

Some of these buildings with contemporary designs are; the Philippine National
Bank Building, which was five-stories high; the Insular Life building, which stood
prominently on south east corner of Plaza Cervantes, the old Ideal Theatre in Quiapo,
Manila; MetropolitanTheatre in Liwasang Bonifacio, the Cebu Provincial Capitol; Rizal
Memorial Stadium; Quezon Institute in Quezon City and some buildings inside UP
Diliman.
Evaluation Activities

A. Answer the following questions(5pts each- choose 3 out of 5)

1. Describe paintings in the Philippine during the Spanish time.
2. Who founded the Academia? Why was it founded?
3. What is the purpose of painting during the American period? Explain your
answer.
4. What are the similarities and differences of the churches in Pampanga and
Bulacan with those in the Rizal province with regards to architectural
characteristics?
5. What are the distinct qualities of some of the early churches established in
Intramuros, Manila?

B. Multiple Choice (20pts)

Write letter of your choice that corresponds to your answer
1. The first stone churches during the Spanish times were established in
a. Naga City c. Dagupan City e. Manila
b. Cebu City d. Legaspi City
2. The first director of Academia is
a. Guerrero c. Flores e. Luna
b. Dans d. Saez
3. He was a master of non-religious and creative painting
a. Flores c. Hidalgo e. de la Rosa
b. Luna d. Guerrero
4. Which one is not the artwork of Jorge Pineda (1879-1946)
a. Playing chongka c. Alayan e. none of all
b. Lantern makers d.Quiet Street
5. In 1951, a gallery for modern painting was established in a side street of
a. Calle Rizal c. Calle Bonifacio e. Calle Recto
b. Calle Luna d. Calle Mabini
 6. The roster of modern painters are the following except one.Which one is
not included?
a. Hernando Ocampo c. Victor Oteyza e. none of all
b. Fernando Zobel d. Jorge Pineda
7. The early forms of native sculptured featured
a. Idols c. houses e. all of the above
b. Churches d. monuments
8. Realism developed fully in Manila during te
a. 16Th century c. 18Th century e. 20th century
b. 17th century d. 18th century
9. Where can the sculpture that depicts Dr. Rizal writing his “My Last
Farewell” be found ?
a. Legaspi City c. Davao City e. Cebu City
b. Dapitan City d. Iloilo City
10. The largest of the buildings during the Modern Period
a. Post office building d. Opera House
b. Metropolitan Theater e. Cinema Theater
c. Congress of the Philippines

Enrichment Activities(Suggested Activities)

1. Conduct an educational trip

2. Write a description of the places/buildings that you visited.
3. Paste old and new pictures on the following on a bond paper
a. Old and new buildings – churches, mosques, schools, commercial buildings
b. Painting and painters (early and latest painters)
c. Monuments, carvings