Trends in the 1930s and 1940s

- Edades was the pioneer in modernism in the Philippines art scene.

- Edades later formed the Triumvirate of Modern Art with Carlos “Botong” V. Francisco and Galo
B. Ocampo.
The Thirteen Moderns:
 Victorio C. Edades

“The Builders” (1928)

 Carlos “Botong” V. Francisco

“Byanihan”

 Galo B. Ocampo

“Brown Madonna II” (1938)

 Diosdado M. Lorenzo

“Manila Cathedral” (1948)

 Demetrio Diego

“Capas” (1948)

 ‘HR’ Hernando R. Ocampo

“Plantsadora” (1945)

 Vicente S. Manansala

“Madonna of the Slum” (1950)

 Anita Magsaysay-Ho

“Egg Vendors”

 Cesar T. Legaspi
 “Workers” (1974)

 Bonifacio N. Cristobal

“Mayon Volcano” (1972)

 Jose S. Pardo

“Marikit with Caladium” (1969)

 Arsenio Capili

“Tingguian Woman” (1941)

 Ricarte M. Puruganan
 “The Black Nazarene” (1937)

-Edades, Francisco, and Ocampo they produced a mural for the lobby of the Capitol Theater on Escolta
Street. This began the growth of mural painting in the Philippines.

- One of the leading modernists, Carlos “Botong” Francisco, never severed his links with the grassroots in
his hometown of Angono in Rizal province.

- the poet of Angono Rizal

Points of Debate

-Conservative and Modern art has different perspective.

-Modern art as Edades said that the art is an expression of man’s emotion which means you can do art
the way you want it to be. There are no perspective lines/realistic patterns.

- It connects the past and the present.

Munch’s The Scream is an icon of modern art, the Mona Lisa for our
time. Munch defined how we see our own age-wracked with anxiety and
uncertainty.

“The Scream” by Edvard Munch

Banaba Tree by Miguel Galvez

-While Conservative artist has a Greek style of realistic impression which

follows some rule and perspective.
-In contrast, Amorsolo’s influence of art is still strong, many still believes that Amorsolo’s art and the
Conservative art is what “the true reflections of the Filipino Souls”.

-art was to be universal and timeless, above human struggle and strife, and thus not reflecting
contemporary life but an eternal ideal in Plato’s realm of universal and immutable ideas.

-and for Amorsolo, art was romantic nostalgia for a mythic past frozen for all eternity.

-it was assumed that after overcoming the initial resistance of the conservatives, modernism would take
root naturally and unproblematically, like shedding one garment for another.

-an offshoot of the debate between the conservatives and modernists was the firming up of the
relationship between the painters and literati.

The Main Postwar Issues and Trends

-the current term “post-colonial” should not serve as a smoke screen for the neo-colonial

-Rise of nationalism in the postwar decades

-during the Marcos regime, it was articulated into a rightist authoritarian discourse that sought to unify
the people in terms of a common “spirit” (diwa) and cultural heritage.

-the granting of formal independence

- The okir designs of the Muslim Filipinos of Mindanao came into focus, together with the artistic
expressions of the Cordillera and other groups.

-Ukkil or Okir are undoubtedly the most important to the Maranao, Maguindanaon, Iranun, Tausug,
Sama, and Badjao of Mindanao.

-cultural identity

Unchanged art is still existing

-The Okir (motif) is an artistic cultural heritage of the

Maranaos of Lanao, Philippines