1.

Background of the Author

Fernando Amorsolo

 Fernando Amorsolo was born on May 30, 1892, in the Paco district,
Manila.
 Amorsolo would spend most of his childhood in the small town setting of
Daet in Camarines Norte 
 Pedro Amorsolo, father of Fernando Amorsolo, a bookkeeper.
 Bonifacia Cueto, mother of Fernando Amorsolo, a tailor.
 From a very early age, his great artistic capabilities became evident to all,
and hence, at the age of 13, he began training as an apprentice for
influential Philippine artists, Fabian de la Rosa, who also happened to be
the first cousin of his mother.
 In 1909 Amorsolo enrolled at the Liceo de Manila and then attended the
fine-arts school at the University of the Philippines, graduating in 1914. 
 After working three years as a commercial artist and part-time instructor
at the university, he studied at the Escuela de San Fernando in Madrid.
 For seven months he sketched at the museums and on the streets of
Madrid, experimenting with the use of light and color. That winter he
went to New York and discovered the works of the postwar impressionists
and cubists, who became the major influence on his works. On his return
to Manila, he set up his own studio.
 During this period, Amorsolo developed the use of light—actually,
backlight—which is his greatest contribution to Philippine painting.
Characteristically, an Amorsolo painting contains a glow against which the
figures are outlined, and at one point of the canvas there is generally a
burst of light that highlights the smallest detail.
 During the 1920s and 1930s Amorsolo's output of paintings was
prodigious. During World War II Amorsolo continued to paint.His wartime
paintings were exhibited at the Malacanang presidential palace in 1948.
 After the war Amorsolo served as director of the college of fine arts of the
University of the Philippines, retiring in 1950.
 After being confined at the St. Luke's Hospital in Quezon City for two
months, Amorsolo died of heart failure at the age of 79 on April 24,
1972.

2. Historical Background of the Document (Planting Rice with Mayon

Volcano)

Author : Fernando Amorsolo

Period made: 1949
Structure: Oil on Canvas board, 30 x 42 in. (76.2 x 106.7 cm.)
 Mayon is a celebrated symbol of the Philippines, and its presence
in Amorsolo's painting emphasizes his wish to represent the spirit of the
nation on canvas.

 Amorsolo spent his childhood in Camarines Norte. It affected the subject

matter of his paintings where his love for the simple rural life would
become the foundation for his artistic output for which he is most well-
known.

3. Content Presentation

 Composed and richly coloured, saturated with bright sunlight and

populated by beautiful, hardworking and simple people.

 Filipino national character as rooted in rural communities and the cycles

of village life. The villagers in their bright clothes and straw hats work
together amid a green and sunlight landscape of plenty. Behind them,
releasing a peaceful plume of steam, rises the beautifully symmetrical
cone of Mayon stratovolcano.

4. Analysis of the Important Historical Information found in the

Document

 It is an art of beauty, contentment, peace and bounty.

 In this painting, we can see that Filipino is truly hardworking and have a
simple life.
 It is a proof that Filipinos are not lazy.
 The painting itself proves that Filipinos are not dumb. Filipinos are
creative and great.

5. Contribution of the Document In UNDERSTANDING THE GRAND

NARRATIVE OF PHILIPPINE HISTORY

6. Relevance of Document in Contemporary Times

 The paintings depicts the Filipino culture. It were filled with scenes of

fiestas, old churches and rituals that were the legacy of the Philippines’
former colonial masters.
 It helps students, professors and every individual to get information about
the Philippine history.
 It is also an eye-opener to us, who studied Philippine history, that Filipino
is truly great, simple and hardworking.
 It tells a story on what Filipinos experienced in the past specifically on
what their experienced in world war 2.

2. Historical Background of the Document ( Dalagang Bukid )

Author : Fernando Amorsolo

Period made: 1958
Structure: Oil on canvas, 85 x 59.5 cm (34 x 24 in)

 Inspired by life in the province.

 The Dalagang Bukid was his muse of ideal Filipina.

3. Content Presentation

 Dalagang Bukid depicts a portrait of an ideal young Filipina maiden

showing a sweet smile as if she enjoys the agricultural life in the
Philippines.

 His use of vibrant colors explicitly gives off the impression that life in the
Philippines during his time, was particularly agricultural-dependent

4. Analysis of the Important Historical Information found in the

Document

 It expresses the Filipina beauty.

 The simplicity of life in the past.
 Being strong of every Filipino in spite of the labor in the agricultural plain.
2. Historical Background of the Document (Hope in the Ruins of
Manila)

Author : Fernando Amorsolo

Period made: 1945
Structure: Oil on canvas, 86 x 121 cm. (33 7/8 x 47 5/8 in.) 

 It represented the years of World War II, when the Japanese were
occupying the Philippines. 

3. Content Presentation

 The painting tells the devastation ,destruction, sadness and desperation

gives by the World War 2.
 The suffering of Filipinos on world war 2 are seen.

4. Analysis of the Important Historical Infromation found in the

document

 Depicts the war, and the devastation it brings to people, Amorosolo gives
a hint of hope. The way the light shines on the young Filipino woman
holding her child, gives hope for a brighter future that will be built by
these children.
2. Historical Background of the Document (Making of Philippine
Flag)

Author : Fernando Amorsolo

Period made: 1938
Structure: OIL ON CANVAS LAID ON BOARD, 38 BY 50.5 CM.; 15 BY 19 3/4
IN.

 The first Philippine flag.

 The painting shows three women namely Marcella Marino de Agoncillo
(on the right side) refer as the mother of the Philippine flag, with the help
of Lorenza and Delfina Herbosa de Natividad which is actually the
daughter of Marcela. They was tasked by Gen. Emilio Aguinaldo to sew
the first flag for the new republic.

3. Content Presentation

 The clothes that the women are wearing are an older style, more vintage
and really depict the traditional styles. The skirts the women’s are
wearing are long and their tops were like a traditional “kimona”. 

 They were embroiding the first Philippine flag.

 The color use is not that vibrant and colorful unlike on his other works.

4. Analysis of the Important Historical Infromation found in the

document

 The three women are sewing passionately which demonstrates elegance.

 The painting was not that kind of vibrant in the eyes but set the mood
calm and peaceful.
2. Historical Background of the Document (The Maid of Bataan)

Author : Fernando Amorsolo

Period made: 1942
Structure: Oil onanvas, 34.5 x 25.25 in. (87.6 x 64.1 cm.)

 It represented the years of World War II, when the Japanese were
occupying the Philippines. 

3. Content Presentation

 Depicts a kneeling Filipina, head raised cover in white, fire blazing behind
her, as if asking mercy from heaven.
 The soldier lay down in the ground.

4. Analysis of the Important Historical Infromation found in the

document

 It represents the happening in bataan on World war 2.

 The Filipina is traumatized on what is happening in her surroundings, her
face is begging for help.
 Depicts death, tragedy and destruction experienced by Filipino people.