PAINTING ANALYSIS OUTPUT

brightest
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Benedictos' group
Hapag ng Kagalakan depicts a typical representation of a traditional Filipino family. The
thirteen subjects are placed carefully in the piece, it shows a family living together with
their grandparents, children, pets and other relatives - an extended family typically seen
in the Philippines. In the artwork, Samonte used bright and warm colors such as yellow,
orange and red which we can relate to happiness. The use of the natural Kayumanggi
skin tones of Filipinos added a warm atmosphere to the artwork along with an emphasis
to the facial features of the subjects with smiles plastered on their faces. This emphasis
creates a caricature that imitates the happiness of having a big family in a house and
dining together. Although there are almost no empty spaces in the artwork, the
proportions are applied carefully where it can portray the closeness of the subjects in
the frame, it builds a sense of intimacy that looks more happy, interactive and full of
love. The painting of the Last Supper by Leonardo da Vinci is also seen in the
background along with the crucifix and the chapel in the center, specifically placed over
the top of the family representing the belief that God is above everything. This describes
Filipino families as being God-centered and faith-driven. A portrayal of a traditional
Filipino family being grounded by their faith through figures that best represent religious
faith and Catholicism that is embedded in Filipino culture.

At first glance, the painting shows an image of a family of different ages wearing their
big bright smiles, but beyond the smiles shows one of the most challenging and
disheartening problems in the Philippines - poverty. We get this from the appearance of
an illuminated candle, empty plates, a jar of water, and a can of paint as home utilities
which can be a representation of how the family had limited resources maybe due to
low income and less financial support. This artwork might also relate to issues of family
planning. Although extended families act as our support system, it is still better to have
a plan to prevent physical, emotional, and financial strain. However, even with all that,
we still see smiling faces finding comfort in each other’s presence even in dark and
rough times.

By giving the painting the title, “Hapag ng Kagalakan”, Samonte aimed to depict the
traditional Filipino family in which everyone, despite generation gaps, is gathered at the
dining table to have their “salu-salo'' and are still happy in the face of adversity. An
emphasis on the importance of serving meals as a means of expressing love in the
Filipino culture and how mealtimes in a Filipino household bring the family together.
Overall, this artwork showcases the essence of a traditional Filipino family - a family that
focuses on joy and their bond together under their strong Christian faith. This artwork is
a clear and great portrayal of life itself. It shows a common “Pamilyang Pilipino” that
even with having to experience less, Filipinos still show a great mindset by displaying
their gratitude for the things that they have and will always, always, find joy and comfort
by simply being with their loved ones.
-------------------- GROUP 2 ------------------

Aanhin ang Masarap na Ulam kung wala naman ang Magulang

by Eric Perreras

“Aanhin ang Masarap na Ulam kung wala naman ang Magulang”

By Eric Perreras
Museo ng Angeles
Water-Based Media- 73.66 cm x 53.34 cm
Vision Petron Grand Prize Winner, 2015

Aanhin ang Masarap na Ulam Kung Wala Naman ang Magulang by Eric
Perreras depicts the significance of the parents’ time and presence on the happiness of
a child. Perreras portrays this through the juxtaposition of two children with completely
different social statuses based on their food, clothing, and bodies.
The child on the left side of the painting illustrates a healthy child coming from a rich
family, as evidenced by the delicious food on his side, nice clothing, and accessories.
However, he looks sad as indicated by his right hand propping his face.

As we look further at his background, we can tell that his sadness emanates from the
absence of his parents. This teaches us that material things cannot buy our happiness,
and that all of life’s luxuries are meaningless without the presence of our
loved ones. Another symbolism is the watch that the child has on his left hand. This
emphasizes the concept of time, which is exactly what the child needs from his
parents; a quality time to spend together that will strengthen their bond. The lean child
on the right, on the other hand, represents a poor kid who is happy despite being
shirtless and having only a plastic bag of rice and a can of sardines, which are
commonly perceived as food of the poor or of those who do not have any means of
buying other food. In spite of the deficiency of necessities, the boy does not mind it for
he feels the complete presence of his parents. This sends us a message that a simple
life is much better when our parents are present.

In sum, the painting reveals the sad reality of today’s society wherein happiness is
equated with wealth and material things. For a child, the source of happiness cannot be
achieved through these things, but rather through the parents’ intentional and
reassuring presence. Parents are the most significant people in a child’s life, and their
constant presence is crucial in making him feel loved, guided, and nurtured.

-------------------- GROUP ------------------

 “Smile! All is well!” by Wencyl Urieta

Smiling is contagious, it is a universal sign of happiness which binds people

together, and this piece of art by Wencyl Urieta, “Smile! All is well!” depicts the
personality of the Filipino people - in times of crisis, difficulties, sorrow, and problems,
Filipinos still manage to put a smile on their faces. The sitting position of the old woman
wrapped around the baby’s arms highlights the bond between them. It shows how
comfortable and close the two were because the love and connection make them happy
and content. Additionally, yellow and pink are used on their clothing, where yellow
symbolizes optimism and happiness while pink represents the unconditional love and
admiration they have for each other. Looking closely, one can see the state of the old
woman’s skin, which shows how wrinkled it is. This shows the struggles and sacrifices
the poor old woman faces to survive, especially providing for the needs of her family. It
seems that Urieta wants us to show that despite their happiness and positivity, there is a
dark reality.
 Moreover, the painting clearly shows a lot of magnificent contrasts. Looking at
the foreground from the background, it displays trash and scraps that signify the
impoverished situation the subject may be facing. However, it doesn’t reflect on the
foreground wherein an old woman is seen holding a baby, both of which expressed a
seemingly genuine smile, indicating that despite being in the midst of poverty there will
always be a reason to still be happy. In that, we should always look at the positive side
of life. Another contrast in the image is the old woman and the baby. I could attest that
this somehow represents that in the beginning and in the end of our lives, we should
always have a positive outlook in life. Whether we are 10 or a hundred, smiling and
having a certain bond of closeness can reiterate emotional connection and stability we
have between anyone and even to ourselves.

Less privileged people can indeed be content on their own terms, but we can
never deny what they truly need which are the accessibility to necessary support and
resources from the society. The painting was made in 2015, when the full year poverty
incidence among the population, or the proportion of poor Filipinos, was estimated at
23.3 percent. This translates to 23.5 million Filipinos (from 21.9 million) who lived below
the poverty threshold. It has been known that the Philippines has been struggling to
control its population as well as the poverty problem. The old woman and the child in
the painting depict the never ending cycle of poverty among families - to be born and to
give birth in poverty. This also shows that people who live below the poverty line are not
given the opportunities and equal and necessary support they need to make their life
better. Thus, the smiles on their faces shows the resiliency among Filipinos - that
happiness can still exist even in the absence of material wealth and possessions. All in
all, the painting gives both hope and sadness to the viewers, knowing the positivity of
Filipinos despite poverty. Smiling is basically how Filipinos’ ways of saying “we can do
this” and “we will get through this”.
 -------------------- GROUP 4------------------
https://docs.google.com/document/d/1KT4ZEPOK8q5eD8iA03poFxwzmgb0xGOClPjA7qe
DJLw/edit?
fbclid=IwAR0WqBTut4Ai0jLL7lM3rIdj4wKxtIOWSWegv4MUxc8N6Rzr6cbIAsSXSII
-------------------- GROUP 5------------------

Margaret Evans Pregnant by Alice Neel

Margaret Evans Pregnant by Alice Neel evocatively reveals the naked truths faced
by women during pregnancy. The oil on canvas painting portrays a barenaked pregnant
woman with her nipples showing off. It exhibits the physical changes the female human
body undergoes to make room for a baby. This vivid art depicts the harsh reality of
bearing a child as it clearly shows the extremities of the real struggles of being a mother.
It is quite noticeable that she is also pale and clenched to her seat, as though she is
uncomfortable. There is also a mirror behind her, reflecting the back of the chair as well
as her arm and upper back up to her head. The reflected image, however, does not look
exactly like Evans; it appears to be older and wiser. This conveys a message
concerning the drastic changes women’s bodies go through while being pregnant.

In the 1970s, women in America were overromanticized to the extent of

hypersexualization. From comic characters with costumes that resemble undergarments
to art galleries that only include women of sexual characters, women had been
disrespected and unappreciated. This ignited feminist movements and one of the names
that stood out were of Alice Neel, following the path of the Western art where
motherhood has often been portrayed in a single dimension, serenity pervading the
familiar subjects of the Annunciation, the Madonna and Child, and even the Pietà. Neel’s
painting embodies the concepts of realism and feminism by providing a clear viewpoint
of how the society of her time viewed women. It aims to avoid the common genre of
eroticism by putting an emphasis on beautiful imperfections of childbearing, carving a
pavement for women to be labeled not just as a companion in the bedroom, but an
equal, or in some cases, to be more than a man.

In this day and age, objectifying and sexualizing women is still prevalent in
society. Upon assessing the painting, it seems that it tries to propel humanity forward to
think beyond the box, to push us that women’s nude and genitalia should neither be
sexualized nor objectified. For years, women have always been seen by society,
especially men, as sexual objects - limiting and narrowing their outlook towards women
as just “sexy.” Nonetheless, these relentless misogynistic views from men should be
eradicated. It only creates a continual stigma passing from generation to generation. As
the time changes, social norms have also evolved, and these include the discussion on
equal rights and women empowerment. Perception and views are developing due to
said progress of humans’ pedagogical knowledge towards inclusivity; hence, living in the
21st century would make us think that these issues are ashes from the past and that we
would learn from them. However, we are still blinded by the fact that these are societal
matters that humans still tend to disregard.

Furthermore, Margaret Evans Pregnant emanates an alarming issue on body

shaming which victimizes a lot of women in today’s world. In our society, correcting
flaws with regards to physical appearances has long been one of many people's
priorities. When people notice flaws, it's typically considered unconventional and bizarre.
In the painting, it is portrayed that the woman’s body is simply a vessel. Neel viewed
pregnancy as depleting and self-sacrificing but also physically mesmerizing in its
process. Many women experience negative body image as a result of their pregnancy.
They are concerned that after giving birth, their body may take some time to return to its
pregnancy state, or that it will never fully recover. Some women find it difficult to
maintain a positive body image during and after pregnancy, and this somehow affects
them physically and mentally, which we don't always see in today’s age of pressure-to-
beflawless on social media. Although women often have negative feelings towards their
physical appearance during pregnancy, these body changes are completely natural and
these flaws should be accepted and cherished more because it’s part of the human
experience.

Alice Neel’s painting can be perceived generally as an artwork that depicts

pregnancy and its implications on women in society. The visual elements utilized and
integrated by the artist jointly portray the realities of women and their experiences as
they go through this process. As such, a preponderant message that encapsulates the
issues faced by women over the decades can be gathered upon analyzing the work. It
can be deduced that there is a need for men, and people in general, to wake up, realize,
and stop sexualizing and shaming women for being pregnant. It is high time that we
celebrate and acknowledge the physical changes women go through the stage of
pregnancy for it is human nature. This is all part of a human cycle that needs to keep
continuing and we cannot be called a society without it; this is what makes us absolute.
Group 1. Hapag ng Kagalakan by Modesto Samonte Jr.

Group 2. Aanhin ang Masarap na Ulam kung wala naman ang Magulang by Eric Perreras

Group 3. Smile! All is Well by Wencyl Urieta

Group 4. Reclining Nude by Suzzane Valadon

Group 5. Margaret Evans Pregnant by Alice Neel