Juan Luna, the older brother of

General Antonio Luna, was one of

the many celebrated Filipino
painters
of Philippine history. He excelled in
the classical style as manifested in
his works showing figures in
theatrical
poses, creating classical balance
in his paintings. Being exposed
to the European culture, he
portrayed the
European way of life in some of his
works like the La Madrileña and
The Parisian Life. He also did
paintings on
the Spanish and Roman history
as shown in The Battle of
Lepanto and the well-renowned
gold medalist
Spoliarium. In his career, he
adapted the European manner of
painting which focused on literary
scenes, like
Hymen o Hymenee and The Roman
Dames, and historical events, like
The Blood Compact and the award-
winning
The Death of Cleopatra. He often
incorporated allegories and political
commentaries to most of his
artworks just
like when he painted España y
Filipinas to represent the Filipino
propagandists’ desires for reform,
equality,
modernization, and economic
improvement in the Philippines
through the guidance — not the
control — of the
Spaniards. He also depicted the
beauty of the Filipino women in his
paintings like La Bulaqueña and
Tampuhan.
Receiving his first international
award for The Death of Cleopatra
made him a well-known Filipino
artist all over
Europe and the world. From then
on, his works garnered successive
international recognitions and his
career as
an artist flourished. Later, he would
participate in the revolution as one
of the many political activists that
time.
Meanwhile, Fernando Cueto
Amorsolo, titled as the “Grand Old
Man of Philippine Art,” was the
first
Filipino to be recognized as a
National Artist of the Philippines.
Growing up in the small town of
Daet, his simple
rural life reflected most of his
masterpieces portraying pastoral
sceneries. After earning his degree
in Arts, he
went to Spain and the United States
and came back the master of the
backlighting technique which
became his
striking trademark. Still focusing
his artworks on the simple life in
the countryside, Amorsolo
painted well-
illuminated landscapes showing
traditional Filipino customs,
culture, fiestas, and ordinary
occupations as seen in
his Planting Rice, The Palay
Maiden, and many others. He
also gave importance to the
beauty of a Filipina,
highlighting simple yet good-
looking faces and well-shaped
bodies in his nude sketches, as
well as in the
Lavanderas and Women by the
Stream. Other than that, he also did
portraits of prominent individuals
like Manuel
Roxas and himself, in addition to
historical events like The Making of
the Philippine Flag. At the peak of
his
career, the Philippines was dragged
into the Second World War and his
life as an artist was greatly affected.
From
here, his artworks portrayed human
suffering, despair, grief, and
tragedy, just like in his Defense of a
Filipina
Woman’s Honor and The Burning
of Manila. He went back to his
usual art style years after the
war ended.
Hereafter, he garnered numerous
awards and citations, being
recognized as the most influential
artist of his time.
For Luna, he was able to prove to
the world how Filipinos deserved to
be acclaimed for their brilliancy,
treated equal with foreigners in
terms of talents, and not called as
“indios” just like how the Spanish
colonizers
treated them. As to Amorsolo,
his artworks were reflections of
the hard work of the Filipino
obreros and
testimonies of the purity and peace
of the rural areas where happiness
and love is fostered even by living a
simple
life. Though both artists belonged
to different eras in the historical
timeline of the country, Juan
Luna and
Fernando Amorsolo became
symbols of the greatness of the
Filipinos, not only for their art, but
because of their
love for the motherland and its
people as sho
Juan Luna, the older brother of
General Antonio Luna, was one of
the many celebrated Filipino
painters
of Philippine history. He excelled in
the classical style as manifested in
his works showing figures in
theatrical
poses, creating classical balance
in his paintings. Being exposed
to the European culture, he
portrayed the
European way of life in some of his
works like the La Madrileña and
The Parisian Life. He also did
paintings on
the Spanish and Roman history
as shown in The Battle of
Lepanto and the well-renowned
gold medalist
Spoliarium. In his career, he
adapted the European manner of
painting which focused on literary
scenes, like
Hymen o Hymenee and The Roman
Dames, and historical events, like
The Blood Compact and the award-
winning
The Death of Cleopatra. He often
incorporated allegories and political
commentaries to most of his
artworks just
like when he painted España y
Filipinas to represent the Filipino
propagandists’ desires for reform,
equality,
modernization, and economic
improvement in the Philippines
through the guidance — not the
control — of the
Spaniards. He also depicted the
beauty of the Filipino women in his
paintings like La Bulaqueña and
Tampuhan.
Receiving his first international
award for The Death of Cleopatra
made him a well-known Filipino
artist all over
Europe and the world. From then
on, his works garnered successive
international recognitions and his
career as
an artist flourished. Later, he would
participate in the revolution as one
of the many political activists that
time.
Meanwhile, Fernando Cueto
Amorsolo, titled as the “Grand Old
Man of Philippine Art,” was the
first
Filipino to be recognized as a
National Artist of the Philippines.
Growing up in the small town of
Daet, his simple
rural life reflected most of his
masterpieces portraying pastoral
sceneries. After earning his degree
in Arts, he
went to Spain and the United States
and came back the master of the
backlighting technique which
became his
striking trademark. Still focusing
his artworks on the simple life in
the countryside, Amorsolo
painted well-
illuminated landscapes showing
traditional Filipino customs,
culture, fiestas, and ordinary
occupations as seen in
his Planting Rice, The Palay
Maiden, and many others. He
also gave importance to the
beauty of a Filipina,
highlighting simple yet good-
looking faces and well-shaped
bodies in his nude sketches, as
well as in the
Lavanderas and Women by the
Stream. Other than that, he also did
portraits of prominent individuals
like Manuel
Roxas and himself, in addition to
historical events like The Making of
the Philippine Flag. At the peak of
his
career, the Philippines was dragged
into the Second World War and his
life as an artist was greatly affected.
From
here, his artworks portrayed human
suffering, despair, grief, and
tragedy, just like in his Defense of a
Filipina
Woman’s Honor and The Burning
of Manila. He went back to his
usual art style years after the
war ended.
Hereafter, he garnered numerous
awards and citations, being
recognized as the most influential
artist of his time.
For Luna, he was able to prove to
the world how Filipinos deserved to
be acclaimed for their brilliancy,
treated equal with foreigners in
terms of talents, and not called as
“indios” just like how the Spanish
colonizers
treated them. As to Amorsolo,
his artworks were reflections of
the hard work of the Filipino
obreros and
testimonies of the purity and peace
of the rural areas where happiness
and love is fostered even by living a
simple
life. Though both artists belonged
to different eras in the historical
timeline of the country, Juan
Luna and
Fernando Amorsolo became
symbols of the greatness of the
Filipinos, not only for their art, but
because of their
love for the motherland and its
people as sho
Juan Luna, the older brother of
General Antonio Luna, was one of
the many celebrated Filipino
painters
of Philippine history. He excelled in
the classical style as manifested in
his works showing figures in
theatrical
poses, creating classical balance
in his paintings. Being exposed
to the European culture, he
portrayed the
European way of life in some of his
works like the La Madrileña and
The Parisian Life. He also did
paintings on
the Spanish and Roman history
as shown in The Battle of
Lepanto and the well-renowned
gold medalist
Spoliarium. In his career, he
adapted the European manner of
painting which focused on literary
scenes, like
Hymen o Hymenee and The Roman
Dames, and historical events, like
The Blood Compact and the award-
winning
The Death of Cleopatra. He often
incorporated allegories and political
commentaries to most of his
artworks just
like when he painted España y
Filipinas to represent the Filipino
propagandists’ desires for reform,
equality,
modernization, and economic
improvement in the Philippines
through the guidance — not the
control — of the
Spaniards. He also depicted the
beauty of the Filipino women in his
paintings like La Bulaqueña and
Tampuhan.
Receiving his first international
award for The Death of Cleopatra
made him a well-known Filipino
artist all over
Europe and the world. From then
on, his works garnered successive
international recognitions and his
career as
an artist flourished. Later, he would
participate in the revolution as one
of the many political activists that
time.
Meanwhile, Fernando Cueto
Amorsolo, titled as the “Grand Old
Man of Philippine Art,” was the
first
Filipino to be recognized as a
National Artist of the Philippines.
Growing up in the small town of
Daet, his simple
rural life reflected most of his
masterpieces portraying pastoral
sceneries. After earning his degree
in Arts, he
went to Spain and the United States
and came back the master of the
backlighting technique which
became his
striking trademark. Still focusing
his artworks on the simple life in
the countryside, Amorsolo
painted well-
illuminated landscapes showing
traditional Filipino customs,
culture, fiestas, and ordinary
occupations as seen in
his Planting Rice, The Palay
Maiden, and many others. He
also gave importance to the
beauty of a Filipina,
highlighting simple yet good-
looking faces and well-shaped
bodies in his nude sketches, as
well as in the
Lavanderas and Women by the
Stream. Other than that, he also did
portraits of prominent individuals
like Manuel
Roxas and himself, in addition to
historical events like The Making of
the Philippine Flag. At the peak of
his
career, the Philippines was dragged
into the Second World War and his
life as an artist was greatly affected.
From
here, his artworks portrayed human
suffering, despair, grief, and
tragedy, just like in his Defense of a
Filipina
Woman’s Honor and The Burning
of Manila. He went back to his
usual art style years after the
war ended.
Hereafter, he garnered numerous
awards and citations, being
recognized as the most influential
artist of his time.
For Luna, he was able to prove to
the world how Filipinos deserved to
be acclaimed for their brilliancy,
treated equal with foreigners in
terms of talents, and not called as
“indios” just like how the Spanish
colonizers
treated them. As to Amorsolo,
his artworks were reflections of
the hard work of the Filipino
obreros and
testimonies of the purity and peace
of the rural areas where happiness
and love is fostered even by living a
simple
life. Though both artists belonged
to different eras in the historical
timeline of the country, Juan
Luna and
Fernando Amorsolo became
symbols of the greatness of the
Filipinos, not only for their art, but
because of their
love for
Juan Luna, the older brother of
General Antonio Luna, was one of
the many celebrated Filipino
painters
of Philippine history. He excelled in
the classical style as manifested in
his works showing figures in
theatrical
poses, creating classical balance
in his paintings. Being exposed
to the European culture, he
portrayed the
European way of life in some of his
works like the La Madrileña and
The Parisian Life. He also did
paintings on
the Spanish and Roman history
as shown in The Battle of
Lepanto and the well-renowned
gold medalist
Spoliarium. In his career, he
adapted the European manner of
painting which focused on literary
scenes, like
Hymen o Hymenee and The Roman
Dames, and historical events, like
The Blood Compact and the award-
winning
The Death of Cleopatra. He often
incorporated allegories and political
commentaries to most of his
artworks just
like when he painted España y
Filipinas to represent the Filipino
propagandists’ desires for reform,
equality,
modernization, and economic
improvement in the Philippines
through the guidance — not the
control — of the
Spaniards. He also depicted the
beauty of the Filipino women in his
paintings like La Bulaqueña and
Tampuhan.
Receiving his first international
award for The Death of Cleopatra
made him a well-known Filipino
artist all over
Europe and the world. From then
on, his works garnered successive
international recognitions and his
career as
an artist flourished. Later, he would
participate in the revolution as one
of the many political activists that
time.
Meanwhile, Fernando Cueto
Amorsolo, titled as the “Grand Old
Man of Philippine Art,” was the
first
Filipino to be recognized as a
National Artist of the Philippines.
Growing up in the small town of
Daet, his simple
rural life reflected most of his
masterpieces portraying pastoral
sceneries. After earning his degree
in Arts, he
went to Spain and the United States
and came back the master of the
backlighting technique which
became his
striking trademark. Still focusing
his artworks on the simple life in
the countryside, Amorsolo
painted well-
illuminated landscapes showing
traditional Filipino customs,
culture, fiestas, and ordinary
occupations as seen in
his Planting Rice, The Palay
Maiden, and many others. He
also gave importance to the
beauty of a Filipina,
highlighting simple yet good-
looking faces and well-shaped
bodies in his nude sketches, as
well as in the
Lavanderas and Women by the
Stream. Other than that, he also did
portraits of prominent individuals
like Manuel
Roxas and himself, in addition to
historical events like The Making of
the Philippine Flag. At the peak of
his
career, the Philippines was dragged
into the Second World War and his
life as an artist was greatly affected.
From
here, his artworks portrayed human
suffering, despair, grief, and
tragedy, just like in his Defense of a
Filipina
Woman’s Honor and The Burning
of Manila. He went back to his
usual art style years after the
war ended.
Hereafter, he garnered numerous
awards and citations, being
recognized as the most influential
artist of his time.
For Luna, he was able to prove to
the world how Filipinos deserved to
be acclaimed for their brilliancy,
treated equal with foreigners in
terms of talents, and not called as
“indios” just like how the Spanish
colonizers
treated them. As to Amorsolo,
his artworks were reflections of
the hard work of the Filipino
obreros and
testimonies of the purity and peace
of the rural areas where happiness
and love is fostered even by living a
simple
life. Though both artists belonged
to different eras in the historical
timeline of the country, Juan
Luna and
Fernando Amorsolo became
symbols of the greatness of the
Filipinos, not only for their art, but
because of their
love for
Juan Luna, the older brother of
General Antonio Luna, was one of
the many celebrated Filipino
painters
of Philippine history. He excelled in
the classical style as manifested in
his works showing figures in
theatrical
poses, creating classical balance
in his paintings. Being exposed
to the European culture, he
portrayed the
European way of life in some of his
works like the La Madrileña and
The Parisian Life. He also did
paintings on
the Spanish and Roman history
as shown in The Battle of
Lepanto and the well-renowned
gold medalist
Spoliarium. In his career, he
adapted the European manner of
painting which focused on literary
scenes, like
Hymen o Hymenee and The Roman
Dames, and historical events, like
The Blood Compact and the award-
winning
The Death of Cleopatra. He often
incorporated allegories and political
commentaries to most of his
artworks just
like when he painted España y
Filipinas to represent the Filipino
propagandists’ desires for reform,
equality,
modernization, and economic
improvement in the Philippines
through the guidance — not the
control — of the
Spaniards. He also depicted the
beauty of the Filipino women in his
paintings like La Bulaqueña and
Tampuhan.
Receiving his first international
award for The Death of Cleopatra
made him a well-known Filipino
artist all over
Europe and the world. From then
on, his works garnered successive
international recognitions and his
career as
an artist flourished. Later, he would
participate in the revolution as one
of the many political activists that
time.
Meanwhile, Fernando Cueto
Amorsolo, titled as the “Grand Old
Man of Philippine Art,” was the
first
Filipino to be recognized as a
National Artist of the Philippines.
Growing up in the small town of
Daet, his simple
rural life reflected most of his
masterpieces portraying pastoral
sceneries. After earning his degree
in Arts, he
went to Spain and the United States
and came back the master of the
backlighting technique which
became his
striking trademark. Still focusing
his artworks on the simple life in
the countryside, Amorsolo
painted well-
illuminated landscapes showing
traditional Filipino customs,
culture, fiestas, and ordinary
occupations as seen in
his Planting Rice, The Palay
Maiden, and many others. He
also gave importance to the
beauty of a Filipina,
highlighting simple yet good-
looking faces and well-shaped
bodies in his nude sketches, as
well as in the
Lavanderas and Women by the
Stream. Other than that, he also did
portraits of prominent individuals
like Manuel
Roxas and himself, in addition to
historical events like The Making of
the Philippine Flag. At the peak of
his
career, the Philippines was dragged
into the Second World War and his
life as an artist was greatly affected.
From
here, his artworks portrayed human
suffering, despair, grief, and
tragedy, just like in his Defense of a
Filipina
Woman’s Honor and The Burning
of Manila. He went back to his
usual art style years after the
war ended.
Hereafter, he garnered numerous
awards and citations, being
recognized as the most influential
artist of his time.
For Luna, he was able to prove to
the world how Filipinos deserved to
be acclaimed for their brilliancy,
treated equal with foreigners in
terms of talents, and not called as
“indios” just like how the Spanish
colonizers
treated them. As to Amorsolo,
his artworks were reflections of
the hard work of the Filipino
obreros and
testimonies of the purity and peace
of the rural areas where happiness
and love is fostered even by living a
simple
life. Though both artists belonged
to different eras in the historical
timeline of the country, Juan
Luna and
Fernando Amorsolo became
symbols of the greatness of the
Filipinos, not only for their art, but
because of their
love for
Juan Luna was one of the many celebrated Filipino painters of Philippine history. He
excelled in the classical style as manifested in his works showing figures in theatrical
poses, creating classical balance in his paintings. Being exposed to the European
culture, he portrayed the European way of life in some of his works like the La
Madrileña and The Parisian Life. He also did paintings on the Spanish and Roman
history as shown in The Battle of Lepanto and the well-renowned gold medalist
Spoliarium. In his career, he adapted the European manner of painting which focused
on literary scenes, like Hymen o Hymenee and The Roman Dames, and historical
events, like The Blood Compact and the award-winning The Death of Cleopatra. He
often incorporated allegories and political commentaries to most of his artworks just
like when he painted España y Filipinas to represent the Filipino propagandists’
desires for reform, equality, modernization, and economic improvement in the
Philippines through the guidance — not the control — of the Spaniards. He also
depicted the beauty of the Filipino women in his paintings like La Bulaqueña and
Tampuhan. Receiving his first international award for The Death of Cleopatra made
him a well-known Filipino artist all over Europe and the world. From then on, his
works garnered successive international recognitions and his career as an artist
flourished. Later, he would participate in the revolution as one of the many political
activists that time.

Fernando Cueto Amorsolo, titled as the “Grand Old Man of Philippine Art,” was the
first Filipino to be recognized as a National Artist of the Philippines. Growing up in the
small town of Daet, his simple rural life reflected most of his masterpieces portraying
pastoral sceneries. After earning his degree in Arts, he went to Spain and the United
States and came back the master of the backlighting technique which became his
striking trademark. Still focusing his artworks on the simple life in the
countryside, Amorsolo painted well-illuminated landscapes showing traditional
Filipino customs, culture, fiestas, and ordinary occupations as seen in his Planting
Rice, The Palay Maiden, and many others. He also gave importance to the beauty
of a Filipina, highlighting simple yet good-looking faces and well-shaped bodies in
his nude sketches, as well as in the Lavanderas and Women by the Stream. Other
than that, he also did portraits of prominent individuals like Manuel Roxas and
himself, in addition to historical events like The Making of the Philippine Flag. At the
peak of his career, the Philippines was dragged into the Second World War and his life
as an artist was greatly affected. From here, his artworks portrayed human suffering,
despair, grief, and tragedy, just like in his Defense of a Filipina Woman’s Honor and
The Burning of Manila. He went back to his usual art style years after the war
ended. Hereafter, he garnered numerous awards and citations, being recognized as the
most influential artist of his time.