DON HONORIO VENTURA STATE UNIVERSITY

Villa Bacolor, Pampanga

Performance Task

Group 10

Vitug, Gerald O.

Deang, ShanneAlhfred B.

Rivera, Mary Joyce A.

Lingat, Lian Ashley N.

Manio, Elaine Kate S.

Waje, Louis Mckell M.

 Fernando Amorsolo, Harvest Scene, 1942

A. Historical of context
Fruit Harvesting, one of the paintings of the National Artist Fernando Amorsolo, was
created in 1950, five years after the Japanese invasion in 1945. It depicts how life had been for
Filipino peasants prior to the war years.

B. Artist’s Background
Fernando Amorsolo was born on May 30, 1892 in Paco, Manila to Pedro Amorsolo, a
bookkeeper, and his wife Bonifacia Cueto. One of five brothers, Fernando grew up in Daet,
Camarines Norte, until moving to Manila upon the death of his father. Before he passed away,
Amorsolo’s father Pedro had made his wife promise to give Fernando a proper art education. The
type of styles he does are: Impressionism, Luminism, Reality, and the subjects of his paintings are:
Philippine genre and historical, nudes, society portraits. Fernando Amorsolo The following year,
Amorsolo enrolled at the Art School of the Liceo de Manila where a genre scene of figures in a
garden would earn him a first prize in his graduation year. The best-known of his paintings are
featured in colorful costumes, scenes of rice planting and harvesting, genre and society portraits,
and sensual female bathers. Fernando Amorsolo gained more than 10,000 pieces of painted, and
sketches. Other works of Fernando Amorsolo are; Planting Rice, Dalagang Bukid, Fruit Gatherer,
Sunday Morning Going to Town, Defense of a Filipina Woman’s Honor, Making of the Philippine
Flag, Maiden in a Stream, etc.

Here are some of his awards:

➢ 1908 – 2nd Prize, Bazar Escolta (Asociación Internacional de Artistas), for Levendo
Periodico

➢ 1922 – 1st Prize, Commercial and Industrial Fair in the Manila Carnival

➢ 1929 – 1st Prize, New York’s World Fair, for Afternoon Meal of Rice Workers (also
known as Noonday Meal of the Rice Workers)

➢ 1940 – Outstanding University of the Philippines Alumnus Award

➢ 1959 – Gold Medal, UNESCO National Commission

➢ 1961 – Rizal Pro Patria Award

➢ 1961 – Honorary Doctorate in the Humanities, from the Far Eastern University

➢ 1963 – Diploma of Merit from the University of the Philippines

➢ 1963 – Patnubay ng Sining at Kalinangan Award, from the City of Manila

➢ 1963 – Republic Cultural Heritage Award

➢ 1972 – Gawad CCP para sa Sining, from the Cultural Center of the Philippines

C. Nature
The majority of Amorsolo's paintings were peaceful depictions of country life set against
the lushness of the region. At its best, Amorsolo's work exemplifies the realist's earthy paradise -
a society in which people go about their work contentedly and in a naturally picturesque setting.
He sought to communicate that beauty surrounded us, even in the most mundane situations by
painting life’s simple pleasures like sceneries of labanderas washing clothes, farmers toiling the
fields, and/or children at play
 D. Everyday life
This art work is simple but its meaningful in our history of Pilipino culture, the influence
of this art is to know the important of the past life of our heritage or farmers and give a value for
them. This arts is helped us to remember or not forget on the Pilipino culture.

E. Society, Politics and Economy, and History

Fernando Amorsolo y Cueto (1892 – 1972), who would capture the attention of the public
and the buyers. 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. 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. Amorsolo was able to showto the citizen
the ideal beauty of the Philippine landscape, the Philippine rural life and the Filipinas.

Amorsolo found beauty in the ordinary. Rather than paint objects of opulence, glorious
scenes of victory in battle, he depicted the common folk like the farmers, vendors, and young
women who went about their daily tasks and chores. He loved to often explore painting scenes set
in the midst of a rice field or by the river. He believed that art was for everyone and not reserved
only for the affluent. But choosing subjects of painting life’s simple pleasures like sceneries of
lavanderas washing clothes, farmers toiling the fields, children at play, he sought to communicate
that beauty surrounded us, even in the most mundane situations. In so doing, he created a form of
art that everyone, from all walks of life, appreciated.

F. Mode of reception
We didn't find where the actual painting was exhibited or if it sold. But we found some
places where Harvest Scene (1942) can be seen or exhibited. Most of his artworks are collected
and preserved in the National Museum of the Philippines. The artworks of Fernando Amorsolo
can also be seen in The Ayala Museum, Manila, The Central Bank of the Philippines, Manila and,
The Lopez Museum, Manila. In 2003, Amorsolo’s children founded the Fernando C. Amorsolo
Art Foundation located at 39 Cordillera St., Quezon City, Philippines which is dedicated to
preserving Fernando Amorsolo’s legacy, promoting his style and vision, and preserving a national
heritage through the conservation and promotion of his works.

MacArthur Landing Memorial National Park

A. Historical of context
MacArthur Landing Memorial National known Landing Memorial MacArthur protected
Philippines commemorates historic landing General Douglas MacArthur campaign recapture
liberate Philippines Japanese occupation October event largest naval battle world's largest terms
tonnage sunk) Japan's eventual surrender almost memorial located municipality Eastern Visayas
region's major tourist attractions. declared national through Letter Instructions signed President
Ferdinand Marcos MacArthur Landing Memorial National known Landing Memorial MacArthur
protected the Philippines commemorates historic landing General Douglas MacArthur Leyte start
campaign recapture liberate Philippines Japanese occupation October 1944. largest battle World
(Also world's largest naval battle terms tonnage Japan's eventual defeat surrender after almost three
years. memorial located municipality Leyte island Eastern Visayas of region's tourist attractions.
declared national 1977 through Letter Instructions signed President Ferdinand Marcos

B. Artist’s Background
Anastacio Tanchangco Caedo is a one of the Philippines greatest sculptors. He produced
commissioned sculptors mainly of National Heroes. His style of sculpture was classical realist in
the tradition of his mentor, Guillermo Tolentino. He produced commissioned representational
sculptures mainly monuments of national heroes and successful Filipino politicians, businessmen,
and educators. He was born on 14 August 1907 at Batangas, Batangas to Arsenio Caedo and
Genoveva Tanchangco. He died on 12 May 1990. Here are some of the artworks of Anastacio
Caedo, Head of Manuel Quezon, General Malvar, Jose Rizal, Untitled(Mercury), Bust of Marcos,
Untitled (Woman).

Here are some of his awards:

➢ Dying Soldier (1925), Gold Medal, National Heroes Day Competition
➢ "The Problem" (1926) Gold Medal, Philippine Exposition of 1926
➢ Trece Martires de Cavite (Thirteen Martyrs of Cavite) (1931)
➢ Padre Jose Burgos (Fr. Jose Burgos) (1932)
➢ 1952 – Second Prize, Art Association of the Philippines

C. Nature
The bronze statue simply depicts the return of General Douglas MacArthur, a significant
historical event. This was his pledge to the Filipino people that he would return and assist in the
liberation of the Philippines from the Japanese. Built along with the statue of the brave General
are his landing Filipino companions. Inscribed on a marble wall in front of the bronze statues is
General MacArthur’s promise to return which have been kept in the hearts of all Leyteños. Indeed,
a well-preserved promise that while it has already been fulfilled, it continues to give hope to the
present generation.

D. Everyday life
 The influence of this arts the historical of General Douglas Mc Arthur is to remember the
past and to don’t forgotten and he had a famous line is the “ I shall return” and many years ago
when we always hear that line he remember the history of Douglas Mc Arthur. In terms of art
there’s a lot of portrait or drawing that we saw now in internet.

E. Society, Politics and Economy, and History

It was built to commemorate the historic landing of Gen Douglas MacArthur in Leyte in
October 1944. Together with Gen MacArthur were President-in-exile Sergio Osmeña, Lieutenant
General Richard Sutherland, Brigadier General Carlos P. Romulo, Major General Courtney
Whitney, Sergeant Francisco Salveron and CBS Radio correspondent William J. Dunn. the statues
were created by Filipino sculptor Anastacio Caedo (1907-1990). The landing at Leyte was
significant because this marked the start of the campaign to liberate the Philippines from the
Japanese in World War II. Tacloban was the first city to be liberated by U.S. and Filipino forces
and became the temporary capital for several months. MacArthur said the famous words, “I shall
return.” In October 1944, MacArthur delivered a prepared speech, which started with the words:
“People of the Philippines: I have returned. By the grace of Almighty God our forces stand again
on Philippine soil…”

F. Mode of reception
On July 12, 1977, The MacArthur Landing Memorial National Park was declared a national
park through a letter of Instructions No. 572 signed by President Ferdinand Marcos. The war
memorial is located in the municipality of Palo on Leyte island in Eastern Visayas and is one of
the region's major tourist attractions. The MacArthur Leyte Landing Memorial National Park is a
protected area of the Philippines that commemorates the historic landing of General Douglas
MacArthur in Leyte Gulf at the start of the campaign to recapture and liberate the Philippines from
Japanese occupation on 20 October 1944.
 Guillermo E. Tolentino, UP Oblation

A. Historical of context
It depicts a man facing upward with arms outstretched, symbolizing selfless offering of
oneself to his country. The idea for the Oblation was first conceived during the presidency of
Rafael Palma, who was the one to commission Tolentino to make the sculpture.... The sculpture
was funded by the U.P. The cornerstone was placed on November 30, 1931 at the U.P. Padre Faura,
headed by Mrs. Aurora Quezon. The original material when it was created in 1935, was reinforced
concrete that was painted to look like bronze. It was the project of the University Student Council
of the famous class of 1936 (Marcos was in the same class) that was co-chaired (because there was
a tie up in the elections) by lawyer Potenciano T. Illusorio and former House Speaker Jose B.
Laurel.6 The P2,000 cost were contributions of students, officials, alumni, & employees within a
two-month fund raising campaign. But it is more commonly owned by the said batch because of
the 50 centavos subscription of each member, except lawyer Illusorio who gave P500 of his own
money to assure the completion of the statue by March 1936.7 During that time, rice costs 25 to
30 centavos a ganta & a laborer earned 80 cents a day. Virgilio Raymundo both served as the
model for the Oblation, using the former's physique and the latter's proportion. The
Oblation withstood the ravages of the war. At the University’s 40th anniversary in 1949, it was
transferred to the Main Library of UP at Diliman, Quezon City; while a replica was created and
installed in front of the Quezon Hall where it stands to this day — greeting all who enter to the
school premises. Although it was originally painted to appear like bronze, it was ultimately cast in
bronze in 1950 for durability. The Oblation that stands in front of the Admin Building (Quezon
Hall) was just a replica and the original Oblation can be found in the UP Main Library.

B. Artist’s Background
Guillermo E. Tolentino was born on July 24 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. Guillermo E. Tolentino is considering as the “Father of Philippine Arts”, because of
his famous works like “Bonifacio Monument”, “Rizal Avenue”, and “UP Oblation”. In 1919,
Tolentino went to United States to continue to pursue his other studies, and he had received a
scholarship grant form Bernanrd Branch of New York University’s Beuax School of Arts. In 1932,
Tolentino married, Paz Raymundo, they had seven children. He became director in School of Arts
from 1953-1955. He died on1976. He created 24 artworks.

C. Nature
 The Oblation is a tangible representation of Tolentino’s interpretation of two of Jose
Rizal’s writing’s—Mi Ultimo Adios and A La Juventud Filipina. The statue’s height of 3.5-meters
symbolizes three and a half centuries of Spanish colonial rule, while its pose of self-offering
represents Tolentino’s interpretation of Rizal’s second stanza above—in particular the “unknown
heroes who fell during the night.” Furthermore, its base is a stylized representation of the
Philippine archipelago, with rocks from Montalban Gorge to highlight its cultural and historical
significance. Principles of Design used would be Unity as the whole thing looks whole, Balance
as it supports itself upright and the body is symmetrical, Emphasis cause it’s the first thing you see
when you go to UP, Rhythm because it gives you a certain emotion and lastly is Scale and
proportion as it gives you a hierarchical scale of an person and it’s proportionate to everything.
The style used would be Realistic art cause its shows realism without idealization or distortion.
The form is of a three dimensional statue.

D. Everyday life
In 1970, he was also conferred the President's Medal of Merit for contributions to nation
building through his outstanding work in arts particularly in sculpture. Tolentino also received
the Republic Cultural Heritage Award in 1967 for his contribution in preserving, developing, and
enriching the Filipino culture. The influence of this arts to us is a lot and symbolize of the
university of the Philippines and a lot of student wants to enter in this university because some of
student want study here to get more knowledge or opportunity in future.

E. Society, Politics and Economy, and History

The Oblation is a concrete statue by Filipino artist Guillermo E. Tolentino which serves as
the iconic symbol of the University of the Philippines. It depicts a man facing upward with arms
outstretched, symbolizing selfless offering of oneself to his country. The idea for the Oblation was
first conceived during the presidency of Rafael Palma, who was the one to commission Tolentino
to make the sculpture Originally, the statue was completely naked, but, as morality was prevailing
at that time, it was modified by former U.P. President Jorge Bocobo with the addition of a fig leaf
to cover the genitals. The sculpture was funded by the U.P. students of 1935-1936, and was
presided by Potenciano Illusorio and Jose B. Laurel, Jr., presidents of the student council during
the first and second semester respectively and was dedicated on March 1939 at the
University's Manila campus where it stayed until February 1949, when the main administrative
offices of the university moved to the new Diliman campus in Quezon City The popular statue of
The University of The Philippines. When you say U.P. the first thing that pops into your mind
would be that fully naked guy statue with his arms open wide. That’s the UP oblation by Guillermo
Tolentino.

The statue is a symbol for Jose Rizal’s Mi Ultimo Adios. According to him, and I do quote
“The completely nude figure of a young man with outstretched arms and open hands, with tilted
head, closed eyes and parted lips murmuring a prayer, with breast forward in the act of offering
himself, is my interpretation of that sublime stanza.” That stanza being Rizal’s 2nd stanza in his
Last Farewell. It symbolizes also all the unkown heroes who fell to free our country from the
Spaniards. This statue for me really captures the symbolism of being free.

F. Mode of reception
Today, that sculpture is only a bronze replica, which was recast from the original in Italy
in 1950, under the supervision of Tolentino himself, on November 29, 1958, 23 years after it was
unveiled in the Padre Faura quadrangle, the 9-foot tall bronze oblation was unveiled with a
plaque that has fine handwriting in the likeness Rizal's. It depicts a man facing upward with arms
outstretched, symbolizing selfless offering of oneself to his country. The idea for the Oblation
was first conceived during the presidency of Rafael Palma, who was the one to commission
Tolentino to make the sculpture. Dedicated on U.P.'s Golden Jubilee on November 29, 1958. The
original sculpture is being kept at the Main