Contemporary Philippnine

Arts From the Regions

Quarter 1 – Module 4 - 5
Filipino Artists
Contemporary Philippine Arts From the Region – Grade 11
Alternative Delivery Mode
Quarter 1 – Module 4- 5: Filipino Artist
First Edition, 2020
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Published by the Department of Education, Tagbilaran City Division
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Contemporary Philippine Arts
From the Region
Quarter 1 – Module 4 - 5
The Order of National Artist
Introductory Message
For the facilitator:
Welcome to the Contemporary Philippine Arts from Region -11 Alternative Delivery
Mode (ADM) Module Defining Contemporary Art!
This module was collaboratively designed, developed and reviewed by educators
both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
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You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
learners as they do the tasks included in the module.

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For the learner:
Welcome to the Contemporary Philippine Arts from Region-11 Alternative Delivery
Mode (ADM) Module on Defining Contemporary Art!
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not alone.

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 We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!

What I Need to Know

This module was designed and written with you in mind. It is here to help you
researches on various contemporary art forms. The scope of this module permits it
to be used in many different learning situations. The language used recognizes the
diverse vocabulary level of students. The lessons are arranged to follow the
standard sequence of the course. But the order in which you read them can be
changed to correspond with the textbook you are now using.
Most Essential Learning Competency:
Explains Filipino artists roles and identify their contribution to contemporary arts.
(CAR11/12CAP-Oc-e-5)
The module is divided into three lessons, namely:
● Lesson 4-5 –Filipino Artists
After going through this module, you are expected to:
● Explains Filipino Artist Roles
● Identify their contribution to contemporary art .

What I Know
Choose the letter of the best answer. Write the chosen letter on a separate sheet of paper.
1. A modernist pioneer and iconoclast.
a. Pablo S. Antonio b. Leandro V. Locsin
c. Juan F. Napkil d. Fernando Amorsolo

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2. Which is NOT a part of the guidelines in selection of those who are eligible for nomination and
conferment of the Order of national Artist?
a. artist who are not Filipino citizents or artists who died as Filipino citizens after the establishment of
the award
b.artist whose works have contributed towards developing a Filipino sense of nationhood.
c. artist who have pioneered in evolving modes of creative expression or individual styles which have
gained distinction here and abroad,
d. artist who enjoy broad acceptance and extensive recognition from their peers nationally and
intenationally
3. Which of these statements does NOT describe Napoleon V. Abueva?
a.he was born on February 26, 1931 b. He is a Boholano
c. he was the sculpture of the Sandugo Monument in Tagbilaran City
d. he was a student of fine arts at the University of the Philippines
4. The Filipino artist who hailed as the “King of the Philippine Movies”.
a. Ronald Allan K. Poe b. Eddie S. Romero c. Lino Brocka d. Ramon Valera
5. A Filipino artist who never had any formal training in fashion design.
a. Ramon Valera b. Atang Dela Rama c. Lucresia R. Kasilag d. Jovita Fuentes

What’s In

Warm Up!

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Study the the different works of art. Understand and interpret the following. How
do you define the pictures? Answer on the separate sheet provided for.
__________________________________________________________________________________
__________________________________________________________________________________

Lesson
4-5 Filipino Artists

Napoleon “ Billy “ Veloso Abueva a Boholoano ,is known as the “ Father of Modern Philippine
Sculpture”.One of his masterpieces is the “Sandugo Monument” in Tagbilaran City.

What’s New

Overview

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 For many years, the rare achievements of Filipino artists have not been
properly credited, except through ad hoc awards such as the Presidential Award of
Merit and the Republic Cultural Heritage Award which are given for specific
artistics works, as well as given by civic and academic institutions. Life
achievements have not been appropriately recognized due to the absence of such a
prize, until president Ferdinand Marcos promulgated presidential proclamation No.
1OO1 in April 27, 1972, which established the national Artist Award, a lifetime
recognition of the artists’s accomplishments with appropriate emoluments and
honors.

What is It
The Order of National Artists
The National Artists for the Tangible Arts
a. Architecture
⮚ Pablo S. Antonio- (1976) January 25, 19O1- June 14, 1975
⮚ A modernist pioneer and iconoclast, he radically change the course of
Philippine architecture by boldly defying the well- established American
neoclassicism in the Philippines in the 193Os.
⮚ He introduces a provocatively new building design philosophy – the principle
of streamlining.His buildings at his period had the earthmarks of his journey.
⮚ Antonio acknowledge modernism as the major cultural phenomenon of his
lifetime and the cultural context of his career, with prplific output of 6O
residences, 48 commercial and industrial buildings, 11 thearters, 6 schools,
and 3O other structures of various types.
⮚ Leandro V. Locsin –( 199O) August 15, 1928 – November 15, 1994
⮚ Leandro Locsin was a visionary of clean, crisp modernism. His works are
characterized by pure, rational compositions that demonstrate a mastery of
the minimalist elemental geometry of floating mass.
⮚ His works possess enigmatic qualities- floating volumes; the duality of light
and heavy; massive, yet buoyant- maneuvered in disciplined restraint.

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 ⮚ Locsin was commissioned to design the church of the holy Sacrifice. The
building now a national landmark is remarkable for its circular design and
was the first to have a thin shell concrete dome.
⮚ Locsin created in 1969 his most iconic work, the Tanghalang Pambansa of
the Cultural Center of the Philippines.
⮚ His notable works are ther Philippine pavilion in Osaka Japan, the original
Ayala Museum, University of the Phillipines in Los Banos

⮚ Juan F. Nakpil (1973) May 26, 1899 – May 7, 1986

⮚ His prolific imagination has created astounding buildings that synthesize
strength, function, and beauty- edifices which embody the modern heritage of the
Filipino nation. His fifty- year career produced a staggering number of buildings.
⮚ His use of different styles in various stages of his long career reveal a shifting
aesthetic – beginning with an exuberant art deco trajectory in his early years, and
later developing which unadorned modernist geometries.
⮚ Nakpil’s pre-war architecture was emblematic of an art deco strain known as the
streamlined modern.
⮚ He produce the early style of the iconic Iglesia ni Cristo church buildings that
yielded to the art deco streamlining of Nakpil.
⮚ Through his refined aesthetic and persistent use of vernacular motifs, nakpil
asserted the exiixtence of a Philippine architecture – one that is expressive of, and
responsive to our own culture and tradition. This was his greatest contribution to
Philippine design, and made him one of the greatest architects in Philippine
history.
⮚ Idefonso P. Santos Jr.( 2OO6) September 5, 1929 – January 29 ,2O14
⮚ Santos is acknowledge by his peers as the “ father of modern Philippine landscape
architecture”.
⮚ In the last half – century, the art of Idelfo P. Santos , Jr. has yielded modern
urban ans rural landscapes, whose designs set new standards for designed public
outdoor spaces.
⮚ His influential work during this period was in two new types of development – the
shopping mall and the memorial park.
⮚ As a practitioner and educator, Santos has promoted landscape architecture as a
viable profession that requires knowledge of architectural, engineering and
aesthetic principles, dispelling the longstanding public perception that it is merely
glorified gardening.
⮚ He has adapted his training to the conditions in the tropics and to Filipino
sensibilities. His designs sprang from the Filipino concept of positive space as free
flowing and ‘ maaliwas.”
⮚ His palette of materials embraces a broad range of tropical flora.he often used
plant material overlooked by fashion or ignored because they are endemic.
⮚ The Rizal Park demonstrates Santo’s ability as story – teller. The Martyrdom of Dr.
Jose Rizal creates a tableau that reenact the last days of the national hero through
a light- and-sound presentation.
⮚ Santos lifelong goal of creating order out of chaos and beauty out of blight has
given Filipinos a glimpse of what is possible in the art of manipulating space and
designing with nature.
⮚ Jose Maria V. Zaragoza ( 2O14) December 6,1912 – November 26,1994
⮚ Defined by a significant body of modern edifices that address spiritual and secular
requirements.
⮚ Zaragoza’s name is synonymous with modern ecclesiadtical architecture.
Notwithstanding his affinity to liturgical structures, he also greatly excelled in
secular works such as office buildings, hotels, hospitals , low-cost and middle –
income housing projects, and private residences – all demonstrating his versality
and mastery of modernist architectural vocabulary.
⮚ His reputation as a designer of architecture for worship reached its pinnacle in
1945 when he designed he Santo Domingo Church in Quezon City.
⮚ he was one of the guest architects participating in the massive project of designing
Brasilia, the new capital of Brazil, in the world- renowned Brazilian architects

b. Historical Literature
⮚ Carlos Quirino ( 1997) January 14,191O – May 2O, 1999

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 ⮚ He is best known for being a historical fictionist and biographer, is the son of
Jose Quirino and Dolores Lozada, and the nephew of former president Elpidio
Quirino.
⮚ He began his formal education at De La sale College, completed his
baccalaureate degree in journalism from the University of Wilconsin at
Madison in 1931, and then passed the bar exam in 194O.
⮚ His prize- winning biography regarding Rizal, The Great Malayan, was written
during this time.
⮚ During World War II, he enlisted in the army as second lieutenant, which
consequently led to his capture by the Japanese army. He was one of the
unfortunate participants of the infamous Bataan Death March, but he
managed to escape and then joined the underground resistance in
Pampanga.
⮚ After the war, he returned to the realm of politics and governance, and he
became Elpidion Quirino’s aide-de-campe after the death of manuel Roxas in
1948.
⮚ He returned to writing about history and historical bibgraphies, and his
intensive research on topics such as Damian Domingo, cartography and the
Philippines Spanish heritage would solidify his place in both the academe
and governance.
⮚ His work earned him recognition and he was appointed as Director of
national Library in 1961 and the Ayala Museum in 197O.
⮚ His concept of nationalism was considered to have been greatly influenced by
his belief that history and the great men who were able to harness the
energies of their milieus have something to teach us about our identify and
destiny as a nation.
c. Literature
⮚ Virgilo S. Almario (2OO3) born on March 9, 1944
⮚ More popularly referred to as Rio Alma, Virgilio Almario is a poet, literary
historian, and critic who revived and reinvented traditional Filipino poetic forms,
even as he championed modernist poetics.
⮚ He put a face to the Filipino writer in the country , one determinedly wielding a
pen against untruths, hypocrisy, and injustice.
⮚ He has published many books, including the seminal Makinasyon, Pergrinasyon,
Doktrinang Anakpawis, Mga Retrato at Rekwerdo, and Muli, Sa kandungan ng
Lupa.
⮚ He started his career as an educator when he taught Social Studies at San Miguel
High School. It was when he took up units in M.A. in Education at the University
of the East that his involvement in poetry developed.
⮚ He later on involved himself in the nationalist movement and subsequently
became occupied with research projects on cultural history and literary history.
⮚ He has facilated a sustained interest in Filipino poetry through poetry clinics and
literary workshops of the Galian sa Arte at Tula and the Linangan sa Imahen ,
Retorika at Anyo.
⮚ His being chairman emeritus of Unyon ng mga Manunulat sa Pilipinas is in
recognition of his benevolent presence in national writing workshops.
⮚ He was director of Up Sentro ng Wikang Filipino, Dean of the Colledge of Arts and
Letters, Editor- in – Chief of the UP Diksonaryong Filipino, and chairman of the
Komisyon ng Wikang Filipino.
⮚ Francisco Arcellana ( 199O) September 6, 1916- August 1, 2OO2.
⮚ Zacarias Eugene Francisco Quino Arcellana, more commonly known as ‘Franz “, was
a writer, poet, essayist, critic, journalist, teacher and one of the most important
forerunners of the modern Filipino short story in English. He pioneered the
development of the short story as a lyrical prose-poetic form.
⮚ His first published work, “ The Man Who Could be Poe”, came out in Graphic while he
was still a student at Torres High School.
⮚ He went to medical school while working at the Herald Midweek Magazine and at the
Philcross.
⮚ In 1953, he began teaching at the Department of English and Comparative Literature
of the University of the Philippines. He was later named professor emeritus in 1983
and in 1989, received UP’s highest honor, a doctorate in humane letters, honoris
causa.
⮚ Cirilo F. Bautista ( 2O14) Born on July 9, 1941
⮚ He is the most known for his contribution in the fields of poetry, fiction, and non-
fiction.

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 ⮚ Having published 18 books in total, all of which explore these aforementioned
forms, Bautista consistently demonstrates a distinctive use of poetic language in
both English and Tagalog.
⮚ Having described his childhood as a “ linguistic environment “, and being exposed
to various literary and popular works from local magazines to books from the
local library, he found himself fascinated with words, eventually growing up to
obtain honors I the secondary level and graduating with English Degree, magna
Cum Laude, from the University of Sto. Tomas.
⮚ He proceed to teach English at St. Louis University in Baguio and obtain his
Master’s Degree in Literature.
⮚ His first book, The Cave and Other Poems, was published and won the second
prize for poetry in the Palanca Awards.
⮚ Eventually , he ended up working for then Presedent Ferdinand marcos in the
Presidential Institute for Special Studies- a period when he noted the flourishing
of arts and literature in the local science.
⮚ A man of many literary talents, he has produced a number of works of great
import including ; Summer suns ( 1963), Words and Battlefields (1998), The
Trilogy of Saint Lazarus ( 2OO1), and Galaw ng Asoge (2OO4).

⮚ Lazaro Francisco ( 2OO9) February 22, 1898- June 17, 198O

⮚ He has been honored as the pioneer in the social realist tradition in
Philippine fiction. His novels embody commitment to nationalism.
⮚ He gained prominence as a writer not only for his social conscience but also
for his masterful handling of the Tagalog language and “ supple prose style”.
⮚ He was considered as the highest –paid novelist, being paid P1OO per
chapter for his novels serialized in in the popular Liwayway magazine.
⮚ His novels have been considered classics of Philippine Literature as they
typify a Filipino author’s commitment to nationalism.
⮚ His masterpieces include the novels ,Ang Bayang Nagpatiwakal, Maganda
Pa ang Daigdig, Ama, and Daluyong which have earned for him recognitions
at the University of the Philippines where he was cited as the foremost
Filipino novelist of his generation and champion of Filipino writer’s struggle
for national identity.

⮚ Nestor Vicente Madali Gonzales ( 1997 September 8, 1915- November 28,

1999
⮚ Popularly known as N.V.M. Gonzales, Nestor Vicente Madali Gonzales was a
fictionist, essayist, poet , and teacher, who arculated the Filipino spirit in
rural and urban landscapes.
⮚ He used the English language to express, reflect, and shape Philippine
culture and Philippine sensibility.
⮚ His woks include The Winds of April , Seven Hills Away, Children Of The
Ash-Covered Loam and Other Stories, The Bamboo Dancers and The Bread
Of Salt and Other Stories.
⮚ He worked for the Philippine Graphic as writer and later became editor of the
Evening News Magazine and Manila chronicle.
⮚ He initiated the first UP creative writing center, founder of Up Diliman Review
and first president of the Philippine Write’s Association.
⮚ He also taught as visiting professor Emeritus at the California State
University, Hayward and Professor at the Asian American Studies Center
and English Department of the University of California.
⮚ His friends and colleagues remember him as a dedicated, honest, and
humble worker who wrote about his Tagalog experience using English words,
according to critic and educator Isagani Cruz.

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⮚ Amado V. Hernandez ( 1973) September 13, 19O3 – may 24, 197O
⮚ He was a poet , novelist, playwright, fictionist, and labor leader who was
well- known for his advocacy for exposing social injustice and pushing for
freedom and independence from neocolonial rule.
⮚ He was one of the Filipino writers who practiced “ committed art.” He
contributes to the development of Tagalog prose is considerable – he stripped
Tagalog of its ornate character and wrote in prose closer to colonial, as
opposed to the accepted “ official” style.
⮚ His writing career started when he worked as a journalist for various pre- war
Tagalog newspapers. He was deeply involved in the labor movement and
became part of the Congress of labor Organizations where he
eventually became president in 1947.
⮚ He was imprisoned in 1951 for alledge subversive activities and was release
on parole after five years and six months of detention.
⮚ Among his famous poems were “ Isang Dipang Langit “, “ “Bayang Malaya”,
“Panata sa Kalayaan”, “Bartolina” , at “Kung Tuyo na ang Luha mo Aking
Bayan.”
⮚ Nick Joaquin (1976) May 4, 1917 – April 29, 2OO4
⮚ The greatest Filipino writer in English of the 2Oth century, he was a
consummate poet, fictionist, playwright, and essayist. His works, remarks
historian resil b. Mojares, was unmatched in richness and range by any of
his contemporaries.”
⮚ He was also a veteran journalist who wrote under the pseudonym Quijano de
Manila.
⮚ Regardless of genre, Joaquin wrote with ‘highest skill and quality. ‘ notes his
contemporary and fellow national artist Francisco Arcellana.
⮚ For many a time, his poetry made it to the Honor Roll of Jose Garcia Villa in
the 4Os. Villa, the most influential Filipino poet during the Prewar period and
a national Artist himself, thinks of Joaquin as “ the only Filipino write with
real imagination- that imagination of power and depth and great
metaphysical seeing- and which knows how to express itself in great
language, who writes poetry, and who reveals behind his writing a genuine
first –rate mind.”
⮚ His essay “ la naval de manila” won for him a prize and a scholarship at St.
Albert’s Monastery in Hong Kong where he studied latin and was accepted as
a novice.
⮚ He then became active in theater through the Filipina troupe led by his
sister-in-law sarah Kabigting Joaquin who taught at Far Eastern University .
It was her sister – in –law who first submitted his stories for publication.
⮚ Critism claim that his first collection, Prose and Poems (1952) was the most
commanding book in the first fifty years of Philippine literature in English.
⮚ Joaquin wrote fiction in short and long form: his short stories “Summer
Solstice, ‘ may Day Eve, “ and “ Guardia de Honor ‘ which was recognized by
the Philippine Free Pres as Best Story of the Year in 1949, are widely
anthologized and taught in schools.
⮚ F. Sionil Jose (2OO1) born December 3, 1924
⮚ He was born in Rosales, Pangasinan . His early exposure to literature was
largely due to his mother who bought him books to read despite their family’s
poverty.
⮚ In Rosales Elementary School , he was introduced to the works of Jose Rizal ,
whose works have left in him a deep impression about social inequality,
particularly in Noli Me Tangere.
⮚ He later enrolled at the University of Santo Tomas, where he became the
Editor- in- Chief of the university’s newspaper, The Varsitarian.
⮚ He was the founder of the Philippine branch of PEN International , the oldest
international literary organization of poets, playwrights, essayists, and
novelists.
⮚ One of the most widely-read Filipino writers in English and a widely-
translated author in te international literary scene, he was known for
imbuing his works with the consciousness of class struggle and colonial
experience in the country.

⮚ Bienvenido Lumbera ( 2OO6) born April 11, 1932

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 ⮚ Is a poet , playwright, librettist , critic, scholar, mentor, and foremost
advocate of Filipino and Philippine Studies.
⮚ He is considered one of the pillars of contemporary Philippine literature,
theatre, film, and cultural studies.
⮚ He has advocated for the central place of the vernacular tradition in framing
a national identity through his literary works- both critical ug creative.
⮚ He is a poet who introduced to tagalog literature what is now known as
Bagay Poetry, an aesthetic tendency that helped change the vernacular poetic
tradition.
⮚ As a librettist, he pioneered the creative fusion of fine arts and popular
imagination.
⮚ Among his well-known musical plays are Tales of the manuvu, rama Hari,
Ang Palabas Bukas , Bayani an gang hibik at hmagsik nina Victoria Laktaw.
⮚ Alejandro R. Roces ( 2OO3) July 13, 1924- May 23, 2O11
⮚ Alejandron “ Anding” Roces was a short story writer and essayist, and the
country’s best writer of comic short stories. He focused on the neglected
aspects of Filipino cultural heritage. He also brought to public attention the
aesthetics of the country’s fiestas and helped popularize several local fiestas.
⮚ He campaigned to change the country’s Independence from English to
Filipino in the country’s stamps, currency and passports,and recovered Jose
Rizal’s manuscrips when they were stolen.
⮚ He is known for his work “ My Brother’s peculiar Chicken’. His other works
include “ we Filipinos are Mild Drinkers, Of Cocks and Kites, Fiestas, and
Something to crow About.
⮚ Carlos P. Romulo ( 1982)
⮚ Romulo’s multifaceted career spanned 5O years of public service as educator,
soldier, university president, journalist, and diplomat.
⮚ He was the only Asian to win America’s coveted Pulitzer Prize in Journalism
for a series of articles predicting the outbreak of world War II.
⮚ Romulo wrote and published 18 books , a range of literary works which
include The United ( novel ), I Walked with heroes ( autobiography). I Saw the
Fall of the Philippines, Mother America, and I see the Philippines Rise ( war-
time memoirs).
⮚ Edith L. Tiempo (1999) April 22, 1919 – August 21,2O11
⮚ He was a premier Filipina poet, fictionist, literary critic, and academic and
the lone female national artist for Literature thus far.
⮚ Her widely anthologized poems, “ The Little Marmoset, “ “ lament for the
Littlest fellow, “ and ‘Bonsai, “ immortalize the intricacy of her impeccable
poetic insight, intuition, and versification.
⮚ She “ wrote some of the most precious lines in poetry” in the country
according to National artist F. Sionil Jose.
⮚ Poet and critic Geronimu H. Abad describes Tiempo’s poetry as “ an
intellectual poetry of deep moral feeling, it exemplifies that tradition in
writing which draws its motive power from the Romantic faith in the heart’s
instuitions, and its aesthetic principles from the American New Criticism.”
⮚ Tiempo began a new tradition in Philippine versification in English.
⮚ With a writing career that spanned six decades, she secured an unchallenged
space in Philippine literary canon. She was our “ grand dame of poetry in
English.”
● Jose Garcia Villa (1973) August O5, 19O8 – February 7, 1997
⮚ Jose Garcia Villa ( a.k.a Doveglion ) was a poet, literary critic , and painter.
He was inspired to wirite after reading winesburg, Ohio by Sherwood
Anderson and eventually gained a reputation for himself as a poet.
⮚ The erotic content of this work, however, resulted in a one- year suspension
from the University of the Philippines.
⮚ He taught poetry at the City College of New York. He also worked for the
Philippine Mission in the United Nations from 1954 to 1963, becoming Vice-
consul in 1965.
⮚ He is well- known for his short story “ Footnote to Youth “ and “ Mir-i-nisa”
and his stories were included in Edward O Brien’s Annual Best American
Short Stories anthology.
⮚ According to Villa, commas are an integral and essential part of the medium ,
regulating the poem’s verbal density and time movements, enabling each
word to attain a fuller tonal value and the line movement to become more
measured.

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d. Visual Arts

⮚ Napoleon V. Abueva ( 1976) born on January 26, 193O

⮚ Abueva’s father, a congressman, and his mother were both executed by the
Japanese for their guerrilla activities.
⮚ The young Boholano’s only exposure to sculpture was a small bust of rizal
kept at home by his parents.
⮚ As a school boy, he played with mud, shaping animal forms based on
carabaos that dotted the fields. As a schoolboy, he played with mud, shaping
animal forms based on carabaos that dotted the fields. As a teen , he
apprenticed with the Cebuano portrait sculptor Fidel Araneta , until he
earned a Pura Villanueva Kalaw scholarship to study fine arts at the
University of the Philippines.
⮚ Abueva excelled in academic sculpture as a student of the classicist
Guillermo Tolentino at the University of the Philippines . even as he excelled
in and perfected the traditional genre , his restless spirit and rich
imagination spurred him to create freer forms of sculpture.
⮚ In 1951, he introduced what he called buoyant sculpture: a baby Moses
floating in a pond.
⮚ Versatility is an Abueva trait. He carves models, casts, solders, and combines
different methods to construct architectural sculpture, monuments, bas
–relief, furniture, and functional pieces.
⮚ He stresses that as a sculptor, he is not only an inventor of forms, but largely
a manual laborer.
⮚ Over the years , he has established himself as the contrys pioneering
modernist.
⮚ Abueva’s public sculptures are installed all over the country, notably the
National Heroes shrine in Mt. Samat, the transfiguration in Baesa, Caloocan
City, and various indoor and outdoor sculptures at the Maglahos Garden
Resort in Davao.
⮚ His monument of the sandugo in Tagbilaran City , Bohol is a historic
landmark enshrining the blood compact between Datu Sikatuna and Miguel
Lopez de Legaspi.
● Federico Aguilar Alcuaz ( 2OO9) June 6, 1932 –February 2,2O11
⮚ He was already passionate artist even as a student, takinga Fine Arts Degree at the
University of the Philippines in the mornings and as Associate in Arts degree at San
Beda Collge in the evenings.
⮚ He won first prize in the 1953 UP Art competition, First Prize at the UP Art
Competition, and Second Prize at the UP Art Competition in 1954.
⮚ He received a scholarship grant from the Spanish Ministry of foreign Affairs in 1955
to study at the Academia de Bellas artes de San Fernando in Madrid , and continued
to reap awards and recognition overseas.
⮚ After his extended residency in Europe, acuaz returned to Manila. He kept a studio in
a plush hotel so he could paint the city landscapes as viewed from its picture
windows, as well as gain access to subjects he had to portray.
⮚ He was a prolific abstract painter and a citizen of the world in constant search of
excellence, achievement, and fame in the arts.He inherited the European cubism ‘s
vision of simplified geometric structure where distinction between objects, subjects
matter, and background is blurred.
⮚ His works are included in the collection of several major museums and institutions in
the world.

14
● Fernando C. Amorsolo( 1972) May 3O, 1892- April 24,1972
⮚ As a young son of a widowed mother, Amorsolo apprentice at the studion of his
maternal uncle Fabian dela Rosa, a prominent master painter.
⮚ Though born in Manila, Amorsolo spent the first 13 years of his life in Daet,
Camarines Sur.
⮚ Memories of his childhood in Bicol continued to live on his canvass throughout his
carrer; he loved to sketch the fields and streams where he played, including the peope
and animals that inhabited them.
⮚ Early on, he helped earn income to support his family by painting watercolor
landscapes and post cards for a bookstore that sold them.
⮚ He then became a working student, studying the styles of Spanish painters Diego de
velasquez and other European masters, and graduated with honors at the School of
Fine Arts of the University of the Philippines in 1914.
⮚ He made his first landmark painting Rice Planting in 1922, after which his art carer
peaked during the Commonwealth years.
⮚ He taught at the UP School of Fine Arts for 38 years, serving as its director from
1938 to 1952.
⮚ He was a classical realist who masterfully painted rural scenes with farmers,
maidens and children full of serenity, charm, joy, and pure native sentiment rendered
in backlit chiaroscuro of Philippine sunlit colors.He establish the Filipino standard of
figure and facial anatomy as well as proper color rendering of kayumanggi skin.
⮚ His pride in Philippine locations expanded during his search for historical paintings
of national significance.
⮚ Filipinos of every social class could easily empathize with Amorsolo paintings,
providing them with pride and a national identity.
⮚ Amorsolo’s influence as the most prolific and popular painter in the American period
was extensive: he was a household name during his lifetime.
● Ang Kiukok (2OO1) March 1, 1931 – May 9, 2OO5
⮚ He was born to immigrant Chinese parents in Davao. During World War II, his family
was forced to flee to the mountains to hide from the Japanese.After the war, the Ang
family lived in Cotabato, where he learned to draw portraits from a commercial artist
and proved skillful at it.
⮚ Soon kiukok by painting advertisements for movies.
⮚ He studied at the University of Sto. Tomas where he was taught by Victorion Edades,
Diosdado Lorenzo, Francesco Monti, and Galo Ocampo.
⮚ In 1955, he won Thrird Prize at the fifth shell National Students Art Competition for
his painting Calesa.
⮚ Vicente Manansala encouraged him to hold his first one- man show at the
Contemporary Arts Gallery in Manila, and became his mentor and friend.
⮚ Ang Kiukok was a Neo- realist who developed his pictorial style into a universal
figurative expressionism. The human condition, its deepest despair ad suffering,
constently inspired him.he articulated tension, pain and catharsis through a
painterly system of perfect distortion.
● Benedecto R. Cabrera (2OO6) born April !o, 1942
⮚ Benedecto “ bencab “ Cabrera lived as a young boy in the manila districts of Sta.
Crus and Tondo, painting on pavements and walls, as his older brother Salvador or “
Balong,” already a working artist , taught him the rudiments of painting and exposed
him to the art scene.
⮚ He learned early on to be self- supporting and entreneurial, selling comic books door-
to- door, drawing his classmates school projects for a fee, and selling his sketches of
movie idols.
⮚ His exposure to underpriviled life in the city opened his eyes to social justice issues;
as a sixth grader he won a poster drawing contest for an artwork with a human rights
theme.
⮚ He worked as graphic designer and illustrator of books while developing his skiils in
photography, draftsmanship, printmaking and painting.
⮚ He held his first solo exhibition of paintings at the Indigo gallery in Mabini which he
founded with brother Salvador. He represented the country at the VI Paris Biennale in
1969.
⮚ In 197O he took special studies in printmaking at the Chelsea School of Arts in
London, and held his first solo exhibition in Europe at the Room Gallery in London.
⮚
⮚ He was one of the founding leaders of the Baguio Arts Guild and Baguio Arts Festival.
He organized the Bencab Museum from sales proceeds of his arts, commiting to
uphold regional cultural heritage and environment through museum projects and
education.

15
● Francisco V. Conching (2O14) January 29, 1919.
⮚ The young V. Conching stopped school at an early age to work at Liwayway Magazine
where his father , a novelist, was employed.
⮚ He was apprentice to komiks master artist Tony Velasquez. In 1934, at the age of
fifteen, he authored and drew Bing Bogotilyo, a komiks series that saw print in
Silahis Magazines.
⮚ The outbreak of the Second World War , however, interrupted his juvenile creativity.
Coaching joined Kamagong Unit of the Hunter- ROTC to become a guerrilla fighter.he
experienced the most dangerous adventure of fighting for his country as he would in
the komiks stories he imagined.
⮚ His youthful struggle prevented him from finishing a formal education, but it
nevertheless drove him to great creative heights and cultural influence.
⮚ As a writer of stories and illustrator of comics, Coaching was highly esteemed and
regarded by his peers as the Dean of Philippine Comics and Dean of Illustrators.
⮚ He was maestro of the action- adventure genre which he often enriched with fantasy.
Komiks in the hands of Coaching inhenrently expressed in form and content the
social socio- historical collective consciousness of the Filipino masses.The life of a
komiks series thrives in popularity , and his works often performed exceptionally.
⮚ In 1947 he created Hagibis which won him fame as it was serialized for 15 years in
Liwayway Magazine. It was made into a film with Fernando Poe, Sr. playing the
starring role.
⮚ His creations gave fresh life to stories of ancient Philippine mythology that included
deities, mythical creatures, fantasies of love, adventure, heroism and enchantment.
⮚ Coaching had written and illustrated a total of fifty- three komiks novels, fifty of
which were produced into film.
● Victorion C. Edades (1976) December 23, 1895- March 7, 1985
⮚ He grew up and studied in Barrion Bolosan in Dagupan, where his teachers were
impressed with his skills in art and writing.
⮚ In 1919, he left for the United States to study architecture at the University of
Washington inseattle, doing summer jobs at salmon factories in Alaska. A turning
point in his career occurred in 1922 as he witnessed the traveling exhibition the
Armory Show.
⮚ This convinced him that freedom in creative experimentation and artistic expression
were crucial to being an artist, and that imitating physical reality as taught by
academic art was irrelevant to the times.Soon his paintings The Sketch , which had
the academic discipline as well as modernist strokes, won second prize at the annual
Exhibition Of North amrican Artists.
⮚ He held his solo exhibition featuring thity paintings at the Philippine Columbian
Club. The exhibitions main piece, The Builder’s ( 1928) depicted the essence of
human struggle.
⮚ His painting style shocked the conservative art audience accustomed only to the
serene paintings of Amorsolo. This signaled the launch of a movement for modernism
in Philippine art; Edades considered Philippine art as becoming stale within the
bastion of conservatism.
⮚ He believed that art should deal with a wide range of human experience, including
the dark side of life, and used distortion as a strategy fo dynamic visual expression .
⮚ Edades helped organize the university of sto. Tomas department of architecture in
193O and became its director.
⮚ With his modern painting style and successful efforts in modernizing art education,
he earned the title ‘ Father of Modern Philippine Painting.’
● Carlos “ Botong “ V. Francisco ( 1973) November 4, 1912- March 31, 1969
⮚ He studied at the U.P. School of Fine Arts. Before the Second World War, he worked
as illustrator for the publications Tribune and la Vanguardia, and was set designer at
the manila Grand Opera House and the Clover Theatre.
⮚ After the war, he taught fine arts at the university of Santo Tomas. He worked on
cinema with manuel conde in scripwriting and production of films.
⮚ In 1948, he won the Grand prize at the first national exhibition of the Art Association
of the Philippines . he also assisted his mentor victorio edades and colleague galo
ocampo in executing murals for theatre loobies and private houses designed by the
architect Juan Nakpil.
⮚ Always faithful to his native roots in the fishing town of Angono, Botong Fransisco
incessantly drew inspiration from its daily activities and surroundings as depicted in
his paintings camote Eaters, kaingin, and Sinigang.
⮚ Myths and legends that Angono folks knew inspired him such as Malakas at
maganda and Mariang Makiling. He was responsible for bringing to light the cave
incisions called Angono Petroglyps which were dated to the Neolithic age, declared a
national Cultural Treasure by the National Museum in 1973.

16
● Abdulmari Asia Imao (2OO6) January 14, 1936- December 16, 2O14
⮚ He was born in the Siasi Island of Sulu to a clan known for boat- making. He spent
his childhood in Pate, Sulu whre his first art materials were bamboo soot on banana
leaves. His first attempt at serious art was engraving trophies for swimmers in his
own native town.
⮚ He graduated high school in 1956, the year when the Philippine navy floating art
exhibit docked in Jolo.
⮚ Imao introduced himself and his works to Bernardo who advised and encouraged
him.
⮚ He won his cause as pensionado of the Commission on National Integration. Among
his mentors at the UP were Guillermo Tolentino and Napoleon Abueva.
⮚ He graduated with the degree of bachelor of Fine Arts in Sculpture.
⮚ Imao was a sculptor and painter who brought the culture of Muslim Mindanao to a
modern national consciousness.
⮚ He did this by his use of indigenous motifs of ukkil, sarimanok, and naga in his
paintings and bronze and brass sculptures.
⮚ His canvases echo the curvilinear lines, rhythms, movement, and colors found in the
traditional malong, panolong, and vintas.
⮚ His sculptures echo the ornate foliage and elaborate patterns found in traditional
kulintang , woodcarvings, brass vessels, weapons, and silver inlay.
⮚ He helped maranao and tausug brass workers improve their pre- colonial heritage of
metal working processes for artistic expression and livelihood.
⮚ He also held workshops among the t’bolis of Mindanao and the Cordillerans of
northern Luzon, encouraging them to cultivate resourcefulness and efficiency in
indigenous brass- casting.
● Jose T. Joya ( 2OO3) June 3, 1931 – May 11, 1995
⮚ While taking up his Bachelor of Fine Arts at the University of the Philippines , Jose
T. Joya won First Prize in 1952 for his painting Gossips at the Shell national Student
Art Competition.
⮚ He held his first solo exhibit at the Philippine Art gallery in 1954. Dean of the Up
College of fine Arts in 197O- 78, and became the first Head of the National
Committee on Visual Arts of the National commission for Culture and the Arts.
⮚ He helped promote Philippine contemporary art to the world through exhibition he
organized at Philippine embassies and consulates in New York, Tokyo, and Madrid.
⮚ He established a scholarship fund in his name benefitting deserving fine arts
students at UP Cebu.
⮚ He developed his individual style of abstraction , representing the country for its first
participation at the Venice Biennale in 1958 with Granadean Arabesque (1958). Now
in the collection of the Ateneo Art Gallery.This earned him the recognition as the
foremost canon of Philippine abstract expressionism.
● Cesar T. Legaspi (199O) April 2, 1917 – April 7, 1994
⮚ He studied painting and advertising arts at the u.p. school of Fine arts, where he
received medals for perspective and illustration projects and earned a certificate of
Proficiency in 1936. He continued his painting studies with Pablo Amorsolo, younger
brother of Fernando Amorsolo.
⮚ Cesar was a scholar in fine arts at the cultura hispanica in Madrid from 1953 to
1954, and he studied briefly at the academie ranson in paris under the frence-
American painter and printmaker Henri Goetz.
⮚ He worked as a magazine illustrator and artistic director in an advertising agency,
but managed to develop a career in painting.
⮚ He held retrospective exhibitions at different venues : The Museum of Philippine Art
in 1978, the National Museum and the metropolitan museum in 1988.
● Arturo R. Luz ( 1997)born November 2O, 1926
⮚ He was fierst exposed to art and design by his mother who was an interior designer.
He earned a Certificate in Art from the California Colledge of Arts and Crafts in 1949.
⮚ He took further studies in art at Brooklyn Museum I new York and at the Academie
dela Grande Chaumiere in Paris.
⮚ In 1952, he became president of the art association of the Philippines.
⮚ He founded the Luz Gallery, the most influential and esteemd commercial art gallery
in the country.
⮚ A highly disciplined painter, sculptor designer, and manager.
⮚ He was a major influence in the development of Philippine linear and minimalist
abstraction.
⮚ Throughout his carrer, his works have been a visual voice for Asian aspiration for
contemporary elegance , technical excellence, and universal order.

17
● Vicente S. Manansala ( 1981) January 22 , 191O- August 22, 1981
⮚ He was born in macabebe, Pampanga. His family moved to Intramuros, Manila where
the young Manansala learned to earn his keep by delivering newspapers and shining
shoes.
⮚ His early forms of artistics expression were drawing and making kites. His teens, he
studied painting with the artist.
⮚ The young artist painted movie posters and adverstisements for a living.
⮚ He graduated at the UP School of Fine Arts in 193O, and was soon employed as an
illustrator at the Philippines Herald and Liwayway Magazine.
⮚ His painting “Pounding Rice “ won First prize at the UST National Art Exhibition.
⮚ Manansala’s canvases captured the experience of his youth migrating from the
countryside to the city.
● J.(Jeremias ) Elizalde Navarro ( 1999) May 22 , 1924 – June 1O,1999
⮚ He earned his Bachelor of Fine arts at the University of Sto. Tomas UST in 1951.
⮚ He won First Prize for his watercolour Baguio at the second annual exhibition and
competition of the art Association of the Philippines in 1952.
⮚ He took up advanced studies at the Art Students League in new York in 1953.
⮚ He held his first solo exhibition at the Philippine Art gallery in 1954.
⮚ He taught fine arts at the UST and at the Randwick University in Sydney, Australia.
⮚ He was a painter, illustrator, sculptortor, and designer whole keen sense of
experimentation and versatile excellence in craftsmanship earned him acclaim, even
as his stylist development remains a challenge for critical study.
⮚ Navarro was considered to be whimsical in his creativity.
● Hernando r. Ocampo 1991 April 28, 1911 – December 28, 1978
⮚ He lived most o fhis life in maypajo, Caloocan City in Greater Manila.
⮚ He studied creative writing under the revered shortstory writer and patriot manuel
Arguilla.
⮚ Ocampo was one of the original members of the Veronicans, a group of young
modernist writers who met regularly at his home in maypajo.
⮚ He was a writer and editor in English; a fictionist, playwright, and scripwriter in
Tagalog associated with Fernando poe productions; a producer of stage shows at the
Capitol, lyric, and avenue Theaters; a producer of radion programs; and also an
advertising executive.
⮚ He was one of the thirteen moderns who first broke away from the Amorsolo
influence, and then from the Neorealist sway in painting.
● Guillermo Estrella Tolentino (1973) July 24, 189O- July 12, 1976
⮚ As young boy in his birthplace of malolos, Bulacan , Tolentino modeled forms of
horses and dogs out of mud dug from the blanks of fishponds.
⮚ He took to heart the drawing lessons he earned from his teacher the drawing lessons
he learned from his teacher at the Malolos Intermediate School. Though rooted in his
region , since his youth he demonstrated a keen sense of nationalism and aware ness
og history.
⮚ While still in high school, he drew Los Filipinos Ilustres, a group portrait of thirteen
protagonists of the Philippine Revolution and Propaganda Movement.
⮚ Tolentino was the greatest master and advocate of Philippine classical sculpture. He
gained his first national recognition when his Bonifacio Monument, three years in
making was unveiled in 1933.
⮚ His othe famous work is the U.P. Oblation, a symbol of academic freedom and full
human development.
e. Fashion Design
● Ramon Valera ( 2OO6) August 31, 1912- May 25 1972
⮚ Ramon Valera never had any formal training in fashion design, his works have been
the standard of fashion students for intricate sewing, embroidery, and handiwork.
⮚ He would do the designing, cutting, pasting, and sewing all by himself.
⮚ He was a highly meticulous designer, discarding finished garments that do not meet
his standards.
⮚ He was highly regarded for his ingenuity and craftsmanship, for revolutionizing the
national costume, for his masterful embroidery and beadwork and for translating
Philippine motifs into contemporary fashion.
⮚ The greatest of all was his manipulation by cut- he would sew a dress to perfection
without using a pattern.
⮚ He was the Dean of Philippine Fashion as he was a creative innovator.
⮚ His contributions lie in performing his magical seminal innovations on Philippine
terno, producing a single piece of clothing from a four-piece ( blouse, skirt, overskirt
and long scarf).

18
What’s More
The National Artists for the Intangible Arts
a. Cinema
● Lino Brocka 1997 April 3,1939- May 21, 1991
⮚ The film that Brocka directed and produced are a testament to the capability of film
to express social concerns and the spirit of activism.
⮚ His films concentrated on the marginalized sector’s of society – slum dwellers,
prostitutes, and construction workers.this focus on the lower strata of society is a
contrast to the films which were produced at the time, and his vision change the
landscape of Filipino films in the decades to come.
⮚ Lino Brocka is the most famous for two films which garnered both national and
international attention: Maynila : Sa Kuko ng Liwanag 1975 and Insiang 1976.
⮚ Throughout his career Brocka produced 66 films, some of which gathered national
and international attention from institutions.
● Ishmael Berna 2OO1 September 3O, 1938 – June 2, 1996
⮚ Hailed by critics as ‘ the genius of Phillipine Cinema”, he was recognized as a director
of films that serve as social commentaries and bold reflections on the existing realities
of the struggle of the Filipino.
⮚ Bernal’s innovative filmmaking was evident even in his first directional and
screenwriring job, Pagdating sa Dulo 1971.
⮚ He explored a broad range of film genres, including historical dramas, comedies,
experimental films, and contemporary drama.
⮚ One notable experimental film is Nunal sa Tubig (1976)
● Manuel Conde ( 2OO9)
⮚ He was born in Daet, Camarines Norte in 1915.
⮚ A national artist who had the perchant for giving away his directional credits as a way
of saying thanks.
⮚ Conde was the most famous for the film adaptations of famous Philippine metrical
romances, Prinsipe Tenoso 1941, Siete Infantes de Lara ( 195O) and Ibong Adarna.
⮚ He was famous for his creativity and innovation, and paved the way for the
international recognition of Philippine cinema.
⮚ Conde himself is cited as one of the most important filmmakers in the First Golden
Age of Philippine Cinema.
● Gerardo “ Gerry” De Leon (1982) September 12, 1913 – July 25, 1981
⮚ He was the first filmmaker to be recognized as a Philippine National Artist.
⮚ His father, Hermogenes Ilagan , was a stage director and writer, while his mother,
casianan de leon, was a singer.
⮚ In his films, De Leon departed from the conventions of the Tagalog movie and made
use of expressionist images.
⮚ He also produced many films including Daigdig ng Mga Api, NOli Me Tangere, El
Filibusterismo, Sisa, Sawa sa Lumang Simboryo and Dyesebel.
● Ronald Allan K. Poe (2OO6) August 2O, 1939 – December 14, 2OO6)
⮚ Fernando Poe , Jr., FPJ, Da King, Ronwaldo Reyes, D’ Lanor – the many names of
this man underscore his mythic status in Philippine culture as actor, director, writer,
producer, and politician.
⮚ Above all these names and roles, he is hailed as the “ King of Philippine Movies”.
⮚ Born Ronald Allan K. poe , he began his career as a stuntman for everlasting
pictures.
⮚ Poe expanedhis repertoire when he invested in his own companies, FPJ Productions
and D’ Lanor productions, and began to produce and direct his own films under the
nom de camera Ronwaldo Reyes.
⮚ Among these movies are Alupihang Dagat (1975) King (1978) Tatak ng Tundo ( 1978),
Ang Padrino (1948), and Panday (198O).
● Eddie Romero ( 2OO3) July 7, 1924- May 28, 2O13
⮚ He was a screenwriter, film director, and producer.He was the quintessential Filipino
filmmaker whose life was devoted to nthe art and commerce of cinema spanning three
generations of filmmakers.
⮚ His concepts were delivered in simple, minimalist style but his works were calculated,
precise, and functional, yet unpredictable.
⮚ His 13-part television series Noli Me Tangere (1992) reintroduced Jose Rizal’s novel to
a broader audience.

19
 ⮚ Along with a Filipino- language films, he made English- language films that became
international cult classics and work with American actors.
⮚
b. Dance

● Francisca Reyes Aquino ( 1973) march 9, 1899- November 21, 1983

⮚ She grew up in Tondo.
⮚ She enrolled at the University of the Philippines of the Philippines and earned a Bachelor of
Science in 1924.
⮚ While in UP, she research on folk dances and documented dances, rituals, and native sports
in far-flung barrios in Central and Northern Luzon. Two years later, he graduated with a
master of Arts degree with her thesis “ Philippine Folk Dances and Games”.
⮚ In 1949, she was conferred an honorary doctorate in Physical Education by Boston
University.
⮚ She was appointed physical education director for women at the University of the Philippines,
where she organized the UP Folk Song and Dance Society and the UP Dance Troupe.
● Leonor Orosa Goquinco ( 1976) July 24, 1917- July 15, 2OO5
⮚ She was an exceptional child, having graduated valedictorian in high school and then
finished a Bachelor of Science in Education at Scholastica’s College.
⮚ She went to Columbia University and the Teacher’s College in New York City to take
up Theater arts, drama, and music.
⮚ She later trained inballet from Lilia Lopez and Luva Adameit, and then took
professional courses at Ballet Russe de Monte Carlo.
⮚ She was mentored by Francisca Reyes- Aquino.
⮚ She founded the Filipinescas Dance Company and in her choreographic works, she
incorporated movements from Indian, Spanish, and modern dance.
● Ramon Obusan ( 2OO6) June 16, 1938 – December 21, 2OO6
⮚ Ramon Obusan was a dancer , choreographer, and scholar who held degrees in
marine biology and cultural anthropology from the University of the Philippines.
⮚ He taught at the Aklan National School Of Fisheries before becoming a dancer and
researcher of the byanihan Dance Company.
⮚ He then founded the Ramon Obusan Folkloric Group, travelling all over the
Philippines and to some 2O countries, performing Philippine dances.
⮚ He choreographed and directed some 45 dance groups as well as led dance
productions, pageants, festivals and other special events , movies, and films.
● Alice Reyes ( 2O14) born October 14, 1942
⮚ She grew up in artistic family. Her exposure to dance came by dancing with her
father in the bayanihan Dance Company.
⮚ She received a scholarship from the Music Promotion Foundation of the Philippines.
⮚ She founded the Alice Reyes Modern Dance Company in 1969 and presented a full
length production at the Cultural Center of the Philippines.
⮚ She organized the first CCP summer dance workshop , which provided the nucleus
for the now Ballet Philippines, a major dance company in the Philippines and in Asia.
● Lucresia Reyes Urtula (1988) June 29,1929 – August 24 1999
⮚ She was exposed to the different indigenous groups in the Philippines at a very young
age because of her father’s military tours of duty.
⮚ She enrolled in ballet with Russian émigré in Baguio City, and later became an
apprentice to Francisca Reyes- Aquino.

20
 ⮚ She earned her doctorate in theatre management in dance at the Polytechnic
University of the Philippines in 1985.
⮚ She represented the Philippines in many intenational festivals and conferences and
served as the artistic director of Folk Arts Theater.
c.music

● Levi Celerio (1997) April 3O, 191 – april 2, 2OO2

⮚ He was a prolific lyricist who tendered highly poetic lyrics to the works of composers,
many of whom belonged to the popular song genre, as well as compositions for
movies.
⮚ No less than 4,OOO songs have been attributed to him , either as composer or text
writer.
⮚ Some of these songs heve become standard fare in Philippine music, like “ Pasko na
Naman”, “Sa Ugoy ng Duyan,
● Antonio R. Buenaventura
⮚ He grew up in the band tradition in baliuag, Bulacan and played the clarinet in both
the band and later on in the UP Symphony Orchestra.
⮚ He was a pupil og Nicanor Abelardo , and was one of the first schooled musicians who
encountered folk music from different regions.
⮚ He also composed “ Pandanngo sa Ilaw”
⮚ He also served as instructor and band conductor of the Philippine Army Academy.
● Ermani Joson Cuenco ( 1999) May 1O, 1936 – June 11, 1988.
⮚ He was a song writer, film scorer, and teacher.
⮚ He played cello with the Filipino Touth Symphony Orchestra, the Manila Symphony
Orchestra, and the Manila Chamber Soloists.
⮚ He finished a degree in piano and cello at the University of Sto. Tomas Conservatory
of Music.
⮚ He is credited for writing Filipino love ballads flavored with the sentiment of the
kundiman. His most famous works are Bato sa Buhangin and Kalesa.
● Felipe Padilla De Leon ( 1997) may 1, 1912 – December 5, 1992
⮚ He grew up in the band tradition in Penaranda, Nueva Ecija.
⮚ He first took up Fine Arts at the University of the Philippines, but then stopped and
earned a living by playing the trombone in cabarets and bodabils.he also translated
the Philippine national Anthem from the original Spanish to Tagalog.
⮚ A prodigious composer, he wrote piano pieces,hyms and marches, band music,
symphonic poems, art songs, school songs, sarsuwelas.
● Francisco Feliciano (2O14)
19 February 1941- 19 September 2O14
⮚ He grew up in Morong, Rizal. His first exposure to music was through the band.
⮚ He was appointed as music director of the Philippine Philharmonic Orchestra, and
conducted the Moscow State Symphony Orchestra and the Chicago Symphony
Orchestra.
⮚ He receive the Patnubay ng Kalingan Award in 1983.
● Jovita Fuentes ( 1976) February 15- August 7, 1978
⮚ She was born in Capiz. At the early age, she showed a rare talent for singing
habaneras and danzas.

21
 ⮚ She took formal lessons in voice from Salvina Fornari, an Italian singer living in
Manila.
⮚ She retired from singing and began teaching again at the University of the Philippines
and the College of the Holy Spirit.
⮚ She became the head of the music promotion Foundation of the Philippines which
gave scholarships to musicians to study locally and abroad, and produced foreign
and Filipino operas.
● Lucrecia R. Kasilag (1989) August 31, 1918- August 16, 2OO8
⮚ She began to research on Philippine indigenous communities in collaboration with
dabcer Lucresia Reyes Urtula in order to formulate the repertoire of the Bayanihan
dance company which was being established under the supervision of the Philippine
Women’s University.
⮚ She was a cultural administrator , holding the post of Artistic Director and President
of the Cultural Center of the Philippines from 1969 to 1986.
● Jose Maceda ( 1997) January 31, 1917 – may 5, 2OO4
⮚ He started his musical career as prodigious pianist with extensive
training in paris and the United States.
⮚ He discovered traditional Philippine music and went on to study
ethnomusicology and antropology.
⮚ His first works like Ugma-ugma and Agungan were composed using
solely Philippine and Asian instruments.
● Antonio J. Molina ( 1973) December 26, 1894- January 29, 198O
⮚ He was born into a musical family. His father founded the 22- piece Orquesta Molina
which rehearsed in their house.
⮚ He could play the violin at the age of 12 as well as the diferrent rondalla instruments.
⮚ He introduced into the common harmonic language such structures as the whole
tone scale and the pentatonic scale but still using linear counterpoint.
⮚ He was also a celebrated cellist, conductor, and writer.
⮚ He was actively involved in developing choral music in the Philippines.
⮚ He was awarded the Republic Cultural Heritage award in 1965 and in 1972.
● Lucio D. San Pedro ( 1991) February 11, 1913- 1913 – March 31, 2OO2
⮚ He grew up in the town of Angono, Rizal, where his musical awakening came through
the town band which his father founded.
⮚ He studied at the University of the Philippines Conservatory of music, and then went
to Juiliard for further training.
⮚ When he came back to the Philippines , he taught at Scholatica’s College.
⮚ He was also a passionate nationalist, composing music that always bore the romantic
as well as the courageous character of the Filipino.
● Ramon P. Santos ( 2O14) b February 25, 1941
⮚ He grew up in pasig and was exposed to music by his grandmother and mother who
taught him and his siblings solfege and piano.
⮚ His first breakthrough was winning in the symphonic ode category of the Bonifacio
centennial Composition Contest.
⮚ He discovered Philippine and Asian traditional music as institutionalized by jose
Maceda.
⮚ He served as Dean of the UP College of Music.
● Andrea O. Veneracion ( 1999) July 11, 1928 – July 9, 2O13
⮚ She was taught her first lessons in voice and piano by her mother, Raymunda
Carriaga , who was a voice teacher.
⮚ She finished her degree in piano at the UP Conservatory of Music while also
becoming a champion swimmer.
⮚ She founded the UP Madrigal singers , became the shining example and inspiration
for other Philippine choir to excel and win in major choral competition abroad.
c. Theater

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● Daisy Hontiveros Avellana ( 1999) January 26, 1917- May 12, 2O13
⮚ She was a stage and film actress, award winning writer, and theater director who
advocated for the professionalization of Philippine theater.
⮚ Dubbed as the “ First lady of Philippine Thater, “ she pushed for excellence in staging
theater productions of classical Filipino plays as well as foreign plays through the
Barangay Theater Guild which she co-founded with her husband, National Artist
lamberto Avellana.
⮚ She received several awards for her work .
● Salvador F. Bernal ( 2OO3) January 7, 1945- October 26, 2O11
⮚ He was a theater designer who designed more than 3OO productions that were
distinguish for their originality.
⮚ He harnessed the design potential of inexpensive local materials, pioneering or
maximizing the use of bamboo, raw abaca, abaca fiber, hemp twine, rattan chain
links, and gauze katsa.
⮚ Considered as the “ Father of Philippine Theater Design”, he worked for dramas,
musicals, operas, and concerts of Musical theater Philippines and the Opera Guild of
thr Philippines.
● Honorata “ Atanag” Dela Rama ( 1987) January 11, 19O2- July 11, 1991
⮚ She began her artistic career at the age of 7 when she was given roles in Spanish
zarzuelas.
⮚ She studied the violin at age 12 and went on to study piano.At age 15, she played
Angelita in Leon Ignacio and Hermogenes Ilagan’s Dalagang Bukid which run for
more than a thousand shows.
⮚ She was called “ Queen of the Kundiman and Sarsuwela”, in recognition of her
immortal redention of such popular songs as “ Bituing Marikit”.
● Wilfrido Ma. Guerrero ( 1997) January 22, 1911– April 28, 1995
⮚ He wrote his first play in Spanish, No Todo Es Risa, at age fourteen.
⮚ He worked as reporter and proffreader for La vanguardia and as drama critic for
Manila Tribune.he was appointed assistant professor of dramatics at UP.
⮚ He became founder and director of the UP mobile Theater and pioneered the concept
of the theater campus tour.
⮚ He holds the distinction of being the forst Filipino to have a theater named after him,
the Wilfrido Ma. Guerrero Theater at Palma Hall in UP Diliman.
● Severino Montano ( 2OO1) January 3, 1915 – December 12, 198O
⮚ He was a playwright, director, actor, theater organizer, and the forerunner in
institutionalizing “ legitimate theater” in the Philippines.
⮚ He established a graduate program at the Philippine Normal College for the training
of playwrights, directors, technicians, actors, and designers.
⮚ He also established the Arena Theater playwriting contest.
● Rolando S. Tinio ( 1997) March 5, 1937 – July 7, 1997
⮚ He was a playwright, thespian, poet, teacher, critic, and translator who marked his
career with profilic artistic productions.
⮚ As a stage director, his original insights in the scripts he handled brought forth
productions notable for their visual impact and intellectual vigor.
⮚ He revived traditional Filipino drama, re- staging old theater forms like sarsuwela and
opening a treasure- house of contemporary western drama.
⮚ He also did projects for television and the movies as an actor, screenwriter, and
lyricist.

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 What I Have Learned
1.In the order of Filipino National Artist, who among of them you want to be like
most , and why?. Describe.
2. In your choosen Filipino National Artist, research his/her early life and
accomplishments that makes him/her one of the Filipino National Artist.

What I Can Do

Write your answers on a separate sheets of paper or a

bond paper.
1. Attach a sample of your visual art. Draw one of the
outputs of Filipino National Artist that you like most.

Assessment

I. Fill in the blanks. Write your answer on a separate sheet of paper.

_________ 1. A young Boholano who excelled in academic sculpture.
_________ 2. He kept a studio in a plush hotel so he could paint the city landscapes.
_________ 3. Is the uncle of Fernando Amorsolo.
_________ 4. The forerunner in institutionalizing “ legitimate theatre” in the
Philippines.
_________ 5. He wrote his first play in Spanish, No Todo Es Risa , at the age of
fourteen.
_________ 6. Napoleon Abueva’s one of his masterpiece in Tagbilaran City .
_________ 7. She was called as Queen of the Kundiman and Sarsuwela.
_________ 8.a young son of a widowed mother from Daet, Camarines Sur.

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_________ 9. A man who never had any formal training in fashion design.
_________ 1O. he hailed as the “ King of Philippine Movies”.
_________ 11. A composer who wrote the song entitled “ Ang Pasko ay Sumapit”.
_________ 12. The first filmmaker to be recognized as a Philippine national Artist.
_________ 13. A national Artist who had the penchant for giving away his directional
credits as a way of saying thanks.
_________ 14. Who created the Tanghalang Pambansa of the Cultural Center of the
Philippines.
_________ 15.Acknowledge by his peers as the ‘ father of modern Philippine
landscape architecture”.

II. Discuss the following. Write your answer on a separate sheet.

1. Based on the achievements of the Filipino National Artist, in what
ideas you are influenced as a teenager?
2. What are the contribution of these Filipino National Artist in present
time?
3. Mention the latest declared Filipino National Artist , and give your
insight on why they deserved the title.

References:

Sining Rehiyon Contemporary Philippine Art in the Regions pp. 111-159

For Senior High School
Published by C & E Publishing, Inc.
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Copyright @ 2018 by C & E Publishing, Inc., Gerald Lico, Glecy Cruz
Atienza, Imelda Cajipe Endays, Jason Pilapil Jacobo, and Ramon P. Santos
www.pinoy Favs Ph.
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www. Artasiapacific.com
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