Try to solve the word puzzle.

Answers may
be:expressions, idioms,names, or general concepts
Ty p e i n y o u r a n s w e r s i n t h e c h a t . : )
1. UPSET STOMACH
2. SIT BACK AND RELAX
3. TURN BACK THE HANDS OF TIME
4. ONE FOOT AFTER ANOTHER
5. MAN OVERBOARD
6. PA R T I N G CO M M E N T S
 PHILIPPINE HISTORY OF
IDEAS AND FERNANDO
AMORSOLO'S MODERN ART
REALISM AND NEW REALISM
• Firstly, the edict of Charles III of Spain removed the exclusive right to paint from the
Augustinian order, thus enabling artists to practice art without church license.
• Secondly, the establishment of Art Academies: “Painting rapidly developed among
mestizos, especially Damian Domingo, who founded the first of several private art
academies in Manila for the transmission of Spanish painting conventions.”
VICTORIO
EDADES
FERNANDO
ZOBEL
FERNANDO
AMORSOLO
FERNANDO AMORSOLO
VS FELIPE ROXAS
 • Amorsolo’s kind of modernism is very different from
the one described by western historians of ideas as
defiance against the idealism of Academism or even
of the attempt to be true to nature or even to make
visible the inner reality.
• Amorsolo’s realism lacks content and meaning.
AMORSOLO' S
• It is, therefore, at once not merely Academic Art,
MODERNISM which has an established and over-determined
meaning, but also, because of its application of
photographic image-cutting, it defies any form of
meaning formation.
• p.126
DEFYING
ICONOGRAPHY

• The Amorsolo painting is

made stunning by the
triumvirate of objects: the
salakot, the band of rice
grains, and the sampaguita.

• p.128
TURN TO
SUBJECTIVITY

• in Amorsolo, there is a desire

to construct meanings. In his
art, there is both the sense of
the already known (cogniti)
and the unknown (ignoti).
RE LAT IO N A L
N ARRAT IV E
TECHNIQUE

• Amorsolo gives the

impression of understanding
by creating familiarity in
order to conceal the
meaning, the inner subjective
sense, which the painting
alone knows.
RELIGIOUS
VIEW
• One might be led to ask whether
the church were at the center of
rural life. Situated invariably at the
upper left of the canvas, one
notices that it is the backdrop of
festivity. Do these images imply
that Amorsolo’s painting bore the
idea of man as imago Dei?
AMBIVALENT
MODERNITY
• The idea of a subjective
meaningfulness is intelligible in
the landscapes; for, unlike
Renaissance painting, it has no
iconographic sense, the
meaningfulness may be a
confluence of naturalism,
nationalism, bucolism, even
colonialism.
 IS
FERN AN D O AMORSOLO
A MODERNIST?
• Tradition of art appreciation among afficionados, however, deem
Amorsolo a realist, and thus a “romantic,” and Edades as the first
figure to defy Amorsolo’s brand of “pretty pictures,” and brand of
art as decoration (Canete 82-87).
W H AT O F N AT I O N A L
ARTISTS AND THEIR
WORKS?