Amorsolo painted a few versions of this painting.

He wanted to capture the traditional Filipino

occupation and the farm life of men and women
in a hot sunny day. This representation depicts
how enduring they are, and how the farmers work
together.

Planting Rice by
Fernando Amorsolo

This painting depicts Prince Diponegoro and

his troops in battle against Dutch soldiers
during the five-year Java War (1825-1830).
Prince Diponegoro, whose father was the
Sultan of Yogyakarta, is the pale-skinned
figure in white. He had previously
cooperated with the Dutch but rebelled after
Pasukan Kita yang his younger half-brother was chosen for
Dipimpin Pangeran succession to the Yogyakarta throne. He
Diponegoro
was also annoyed with the Dutch for building
a road near his parents’ royal tomb. His
forces held out against the Dutch for five
years, but lost when Diponegoro was tricked
into attending promised peace talks, only to
be captured and exiled.
 Garuda, in Hindu mythology, the bird (a kite or an
eagle) and the vahana (mount) of the god Vishnu.
In the Rigveda the sun is compared to a bird in its
flight across the sky, and an eagle carries the
ambrosial soma plant from heaven to earth.
The mythological account of Garuda’s birth in
the Mahabharata identifies him as the younger
brother of Aruna, the charioteer of the sun
god, Surya. Garuda’s mother, Vinata, mother of the
birds, was tricked into becoming the slave of her
sister and co-wife, Kadru, mother of
the nagas (serpents). The lasting enmity between
the birds, particularly Garuda, and the serpents is
attributed to this. The nagas agreed to release
Garuda
Vinata if Garuda could obtain for them a drink of the
elixir of immortality, the amrita, or soma. Garuda
performed that feat, thus giving the snakes the
ability to slough off their old skins, and, on his way
back from the heavens, he met Vishnu and agreed
to serve him as his vehicle and also as his emblem.

Granadean Arabesque

A Filipino pioneer of Abstract expressionism, multi-media painter

José Joya uses bold and vibrant colours with a variety of painting
techniques, layering, loose impasto strokes and controlled drips. His
harmonious colours are influenced by Philippine landscapes and
tropical wildlife. His mastery lies in gestural paintings, where the
paint is applied spontaneously on canvas, sometimes directly out of
the tube or through the use of broad strokes with brushes.
Joya influenced younger artists to explore other mediums such as
pottery and printmaking while he served as the Dean of the College
of Fine Arts at the University of the Philippines. In 1964, Joya
represented the country in the Venice Biennial, showcasing the
advancement of modern art in the Philippines.