WORKS OF

LUNA AND
AMORSOLO
CONTENT AND CONTEXTUAL ANALYSIS

SUBMITTED BY:
Aquino, Mary Jane A.
Leocania, Mark M.
Salinas, Ericka A.
BSABEN-2B
Table of Contents:
 Author/Artist’s Background
 Artworks and Masterpiece of Luna and Amorsolo
 Content Analysis and Contextual Analysis
 Importance of their Artworks
 Contribution to Understanding the Philippine History
 Question and Answer
 References
Juan Luna de San Pedro y Novicio Ancheta
• Known for: Painting, drawing, and sculpting.
• was a Filipino painter, sculptor and a political activist of the Philippine
Revolution during the late 19th century. He became one of the first
recognized Philippine artists.
• Born: Oct 23, 1857 Badoc, Ilocos Norte in the northern Philippines
• Died: Dec 7, 1899 Hong Kong
• Cause of Death: Cardiac Arrest
• His remains were buried in Hong Kong and in 1920 were exhumed and kept
in Andrés Luna's house, to be later transferred to a niche at the Crypt of San
Agustin Church in the Philippines.
• His winning of the gold medal in the 1884 Madrid Exposition of Fine Arts,
along with the silver win of fellow Filipino painter Félix Resurrección
Hidalgo, prompted a celebration which was a significant highlight in the
memoirs of members of the Propaganda Movement, with the fellow
Ilustrados toasting the two painters' good health and the brotherhood
between Spain and the Philippines.
• Well regarded for work done in the manner of European academies of his
time, Luna painted literary and historical scenes, some with an underscore of
political commentary. His allegorical works were inspired by classical
balance, and often showed figures in theatrical

Juan Luna’s early life

• Born in the town of Badoc, Ilocos Norte in the northern Philippines, Luna
was the third among the seven children of Joaquín Luna de San Pedro y
Posadas and Laureana Novicio y Ancheta. In 1861, the Luna family moved
to Manila, and he went to the Ateneo Municipal de Manila where he
obtained his Bachelor of Arts degree. He excelled in painting and drawing
and was influenced by his brother, Manuel N. Luna, who, according to
Filipino patriot José Rizal, was a better painter than Juan himself.
 • Luna enrolled at the Escuela Nautica de Manila (now Philippine Merchant
Marine Academy) and became a sailor. He took drawing lessons under the
illustrious painting teacher Lorenzo Guerrero of Ermita, Manila. He also
enrolled in the Academy of Fine Arts (Academia de Dibujo y Pintura) in
Manila where he was influenced and taught how to draw by the Spanish
artist Agustin Saez. Unfortunately, Luna's vigorous brush strokes displeased
his teacher and Luna was discharged from the academy. However, Guerrero
was impressed by his skill and urged Luna to travel to Madrid to further
pursue his work.

Juan Luna’s Family and their background

• Paz Pardo de Tavera - On December 4, 1886, Luna married María de la
Paz Pardo de Tavera, a sister of his friends Félix and Trinidad Pardo de
Tavera. The couple traveled to Venice and Rome and settled in Paris. They
had one son, whom they named Andrés, and a daughter, María de la Paz,
nicknamed Bibi, who died when she was three years old
• On 22 September 1892, after being accused of adultery, Pardo de Tavera
was shot by Luna in their atelier in Villa Dupont alongside her mother
Juliana Gorricho and her brother Félix, with the latter surviving the incident.
Pardo de Tavera died from her gunshot wounds eleven days after the said
incident, in a hospital.
• Joaquin Damaso Luna de San Pedro y Novicio Ancheta (Father). Born on
December 11, 1864. In San Nicolas, Manila, Captaincy General of the
Philippines, Spanish Empire. Died onNovember 7, 1936 (aged 71) At
Mountain Province, Commonwealth of the Philippines.
• Laureana Ancheta Novicio(Mother) Born on July 04, 1836. In Luna, La
Union, Ilocos Region,Philippines Died on August 18, 1906 (70years old)
• Antonio Luna (Heneral Artikulo Uno) Born on October 29, 1866, Binondo,
Manila. Assassinatedon June 5, 1899, at Cabanatuan City
• Joaquin Luna. Born on December 11, 1862, Tondo. Died on November 7,
1936 (age 73 years), Hong Kong
• Remedeios Novicio Luna. Birthdate and death: estimated between 1841 and
1885
 • Manuel Andres Novicio Luna. Born on September 30, 1856, Badoc, Ilocos
Norte. Died on July 15, 1883 (age 26 years)
• Andrés Luna de San Pedro. Born on September 9, 1887, Paris, France.
Died on January 22, 1952 (age 64 years), Manila

Juan Luna’s Artwork

Spoliarium (1884) It expresses a strong opposition to war by illustrating the
atrocities of the Guernica bombardment. The Philippine national treasure
"Spoliarium" represents the struggle for independence, whereas "Guernica" is a
widely known emblem of the opposition to violence and conflict
The Death of Cleopatra (1881) Painted during a time of increased national
consciousness, The Death of Cleopatra not only served as a representation of a
colonized people standing up against their colonizer, but also brought to attention
the ability of Filipino artists, and particularly Luna himself, to surpass their
European contemporaries
The Blood Compact (1886) Symbolizes the shared destiny between Spain and the
Philippines as equal allies of the same social status, meanwhile erasing the reality
of the violence of Spanish Conquista and racial prejudices against the natives.
España y Filipinas (1884) Although an oil on canvas masterpiece[1][8] that
projected a close bond between Spain and the Philippines through feminine
figures, it is a propaganda painting that revealed the true hope and desire of
Filipino propagandists during the 19th-century: assimilation with Spain, reform,
equality, modernization, and economic improvement.
Las Damas Romanas (1882) The masterpiece was a classic work painted in the
highest conventions of the academic style, and it was a representative of the
"abundant richness of life, with humankind", represented by women in the
painting, being "in harmony with Nature".
La Burla (1882) "With its elements of Romanticism, his style shows the influence
of Delacroix, Rambrandt and Daumier". He was praised in a speech for
"glorification of genius and the grandeur of his artistic skills".
This painting might be inspired by the Dickens "Oliver Twist" which speaks
elonquently of his sophostication and cultural tastes he developed while working in
the artistic ambience of Europe.
The Parisian Life (1892) It portrayed a scene inside a café in Paris with a woman
identified as a courtesan or a prostitute representing "fallen womanhood", who was
about to rise from a sofa overshadowing three men placed at the far left corner of
the painting
Hymen, oh Hyménée (1886) This artwork portrays a scene from a Roman
wedding ritual, specifically the moment when the bride is entering the groom's
chamber. The painting draws upon the ancient tradition of invoking Hymen, the
Roman god of marriage, through nuptial songs dating back to the 5th century BCE.
Tampuhan (1895) According to a Filipino art critic, “tampuhan” isn't really the
focus of the painting. Rather, it shows a fiesta or special occasion where there is a
procession outside being watched by the man and the neighbors across the street.
La Bulaqeuña (1895) La Bulaqueña, is literally "the woman from Bulacan" or
"the Bulacan woman", also sometimes referred to as Una Bulaqueña ("a woman
from Bulacan")
The Battle of Lepanto (1887) This painting is a portrayal of national pride
because the Spanish were instrumental in the victory at Lepanto and it is also a
portrayal of pride in the Catholicism of Spaniards since the battle resulted in a
Catholic victory.
En el Balcon (1884) It depicts a woman holding an umbrella known as the parasol.
La Madrileña (En el Balcón) is one of the paintings that illustrate Luna's
inclination of making women an artistic theme, showing the artist's talent as an
enthusiastic painter and observer of the fairer sex.
Odalisque (1885)
It is one of Luna's so-called "Academic Salon portraits" that followed the standards
of proper proportion and perspective, and realistic depictions with "an air of
dignity and allure". Although less polished compared to Luna's other works of art,
the Odalisque is typical of the well-planned characteristic of the artist's portraits,
meaning it was painted in a personal studio while expertly studying the desired
effects, and with finesse.
Mi Novia (1885) The woman in Mi Novia resembles the "other ladies of
distinction" portrayed by the other so-called Salon painters. It is designed to
capture the attention of viewers using "glamorous clichés," such as the "girlish tilt
of the head", the "dewy eyes", the "auburn curls" on the forehead, the lacy and
ornamental "clots" of pigment of the garment, the slickness of the pictorial surface,
the banal and sweet rosiness of the facial expression, and the presence of a "winy
purple" background.
According to rumours, this painting is haunted and cursed since Juan Luna was
working on it when he killed his wife and mother-in-law using a shotgun due to his
suspicions of infidelity.
Una Meztisa (1887) The masterpiece is also known as La mestiza en su tocador
which translates into English as The Mestiza at Her Dressing Table or Mestiza
Lady at Her Dresser. Una Mestiza is also alternately called Charing
Ensueños de Amor Ensueños de Amor, literally "Daydreams of Love", is a
"dreamy" oil on wood painting by Filipino painter and revolutionary activist Juan
Luna. It depicts Luna's wife Paz Pardo de Tavera while sound asleep. It is currently
a part of the art collection of the Lopez Museum
Cleopatra (1881) Depicts Cleopatra moments after her death, with Luna taking
inspiration for the painting's composition from Plutarch's account of her life in his
Parallel Lives series
Chula (1885) Chulas refer to the barrio-bajo women, meaning "poor-district" or
lower class Madrileñas of Spain. According to José Rizal, the Philippine national
hero, chulas are attractive women with black, deep, and passionate eyes wearing
mantillas and carrying fans, who are "always gracious", full of conflagration,
affection, jealousy and "sometimes" of revenge
La Madrileña (1880’s) Described to be the artist's competitive reply to
Hidalgo's La Parisienne, stating that Luna wanted to create a better portrait of a
woman holding an umbrella but employing a "less attractive model" and "in a more
animated style", making a contrast to Hidalgo's.
Feminine Figure (1898)
Herois anònims (1891)
Nu féminin ( 1882-1885)
Seascape (Pazos) (1887)

Fernando Amorsolo y Cueto (May 30, 1892 – April 24, 1972)

• One of the most important artists in the history of painting in the Philippines.
Amorsolo was a portraitist and painter of rural Philippine landscapes. He is
popularly known for his craftsmanship and mastery in the use of light.
• Born on May 30, 1892
• Died on April 24, 1972
• Cause of Death: Heart Failure
• His remains were buried in Loyola Memorial Park, Marikina, Philippines.
• Amorsolo was born on May 30, 1892, in Paco, Manila. Don Fabián de la
Rosa, his mother's cousin, was also a Filipino painter. At the age of 13,
Amorsolo became an apprentice to De la Rosa, who would eventually
become the advocate and guide to Amorsolo's painting career.
• During this time, Amorsolo's mother embroidered to earn money, while
Amorsolo helped by selling water color postcards to a local bookstore for 10
centavos each. His brother, Pablo Amorsolo, was also a painter. Amorsolo's
first success as a young painter came in 1908, when his painting Leyendo el
periódico took second place at the Bazar Escolta, a contest organized by the
Asociacion Internacional de Artistas. Between 1909 and 1914, he enrolled at
the Art School of the Liceo de Manila.
• After graduating from the Liceo, he entered the University of the
Philippines' School of Fine Arts, where De la Rosa worked at the time.
During college, Fernando Amorsolo's primary influences were the Spanish
people court painter Diego Velázquez, John Singer Sargent, Anders Zorn,
Claude Monet, Pierre-Auguste Renoir, but mostly his contemporary Spanish
masters Joaquín Sorolla Bastida and Ignacio Zuloaga.
• Amorsolo's most notable work as a student at the Liceo was his painting of a
young man and a young woman in a garden, which won him the first prize in
the art school exhibition during his graduation year. To make money during
school, Amorsolo joined competitions and did illustrations for various
Philippine publications, including Severino Reyes’ first novel in Tagalog
 language, Parusa ng Diyos ("Punishment of God"), Iñigo Ed. Regalado's
Madaling Araw ("Dawn"), as well as illustrations for editions of the Pasion.
Amorsolo graduated with medals from the University of the Philippines in
1914.

Fernando Amorsolo’s Family and their background

• Pedro Amorsolo was born in 1865, in Philippines as the son of Amorsolo.
He married Bonifacia Cueto in 1886, in Paco, Manila, Philippines. They
were the parents of at least 3 sons. He died in 1958, in his hometown, at the
age of 93.
• Bonifacia Cueto married Pedro Amorsolo and had 2 children. She passed
away on 1916 in Manilla, Phillipines.
• Pablo Amorsolo (June 26, 1898 – February 21, 1945) was
a Filipino painter. He was the younger brother of Fernando Amorsolo

Spouse and Children

• National Artist in Painting Fernando Amorosolo y Cueto, his first
wife Salud Tolentino Jorge-Amorsolo and their first child Virginia,
Manila, 1917.
• During his lifetime, Amorsolo was married twice and had 13
children. In 1916, he married Salud Tolentino Jorge, with whom he
had six children. Amorsolo's first wife died in 1931 leaving him
with six children.
• He had six more children by a common-law wife, named Virginia
Guevarra Santos. Amorsolo have three children with her namely
Manuel (followed in his father's footstep, with a degree in Fine
Arts from the University of the Philippines), Jorge and Norma
when he met his second wife. Subsequently, Virginia found an
engagement ring in one of Amorsolo's drawers; she knew about
Maria, that prompted her to leave his house with her three children.
 • In 1935, he married Maria del Carmen who gave him eight more children.
Among her daughters are Sylvia Amorsolo-Lazo and Luz. But as Maria was
giving birth with his children, Virginia had three more children with
Amorsolo. His reputation was growing as fast as his brood and his work was
more than enough to provide for his rather large family. Six of Amorsolo's
children became artists themselves.

After being confined at the St. Luke's Hospital in Quezon City for two
months, Amorsolo died of heart failure at the age of 79 on April 24, 1972
and was buried at Loyola Memorial Park in Marikina.

Fernando Amorsolo’s Artwork

Planting Rice (1921) Fernando Amorsolo's 1949 painting "Planting Rice with
Mayon Volcano" depicts farmers planting rice with Mayon Volcano in the
background. Amorsolo was committed to depicting Filipino rural life and idealized
the relationship between villagers and their environment
Dalagang Bukid (1958) It embodies a feeling of nostalgia for a time that may
never flourish again.
Amorsolo's dalagang bukid is the archetypal, sweet-tempered, and innocent maiden
embraced by the likes of De la Rosa and Pineda. But the dalaga's attributes
transcend the old master's canvases
The Fruit Gatherer (1950) Depicting a woman sitting under a bamboo tree
holding a winnowing basket full of fresh fruits. It also portrays the everyday lives
of a lady living in the province where fruits, vegetables, and other edible things can
be found fresh.
Making of the Philippine Flag (1955) The mood and visual effect that this
painting can be considered is calm and serene. Ø It is believed that Fernando
Amorsolo made this painting to show the citizen of the Philippines of how
the Philippine flag was made and to remind them the traditions and customs that
we did not realize it becomes faded.
The Mestiza (1947) Depicting a Filipina beauty holding a fan in an eye-catching
ochre off-the-shoulder formal gown known as the mestiza dress. Presumably a
study for a larger portrait, subject unknown, the gray under painting, typically used
by the maestro, imbues the canvas with an ineffable luminosity.
The Bombing of the Intendencia (1942) In this gripping, rare wartime piece,
Fernando Amorsolo depicts that ill-fated day when the Japanese Imperial Army
invaded Manila and wreaked havoc on its inhabitants and several of its built
heritage. Amorsolo created this piece a month after the Japanese invasion of
Manila.
Fruit Pickers Harvesting Under the Mango Tree (1937) To show of the true
value of Filipinos. They are hard-working yet happy of what they are doing. It was
to also make the world aware about the true Filipina beauty. Overall, this painting
was intended to show Filipino's characteristic glow
Maiden in a Stream (1961) This painting shows a young woman bathing in a
tranquil stream, representing the beauty of Philippine nature.
Bataan (1946) This was Amorsolo’s silent protest against the Japanese invaders of
World War II, and the Fall of Bataan in April 1942. From January 7 to April 9,
1942, Filipino and American forces were consolidated along the peninsula of the
Bataan province, as well as the island of Corregidor.
Sunday Morning Going to Town (1942) Amorsolo paints a romanticized scene of
Filipino rural life. A family sets out together, leaving their hut for a place beyond
the viewer’s eye.
The Burning of Manila (1942) This artwork depicts the idea how the Manila is
devastated during that time. This painting shows the Battle of Manila happened
during the Japanese era, he depicted the tragedy and horror in this battle.
The Building of Intramuros (1955) Colorfully dressed Spanish conquistadors
check out their maps as they embark on a native port defined by the blue
mountains, and the blue sea. The finely clothed Spaniards are surrounded by a
backdrop replete with colorful elements of indigenous Filipino culture. Amorsolo
painted the female nude in the form of a woman holding a ‘banga’ as integral to a
historical scenario — using such as a component in the historicity of the work.
Though devoid of any semblance of the Manila we know, this very scene depicts
the construction of Intramuros — the oldest district, and historic core of Manila.
Afternoon Meal of the Workers (Noonday Meal of the Rice Workers) (1939)
Basically captures the traditional farm life of. Filipinos featuring the countryside
imagery, the combination of colors & lighting and the inspiring. beauty of nature.
Behind this painting, the underlying story in it makes it more captivating.
Defense of a Filipina Woman's Honor (1945) Defend Thy Honour depicts a
theatrical scene of a male hero stalwartly defending a woman from rape by a
Japanese soldier.
Assassination of Governor Bustamante (1898-1904) This large work by
Resurreccion Hidalgo portrays a factual event: the assassination of Gov-Gen
Fernando Bustamante y Bustillo in 1719 by a mob led by friars whose economic
activities were threatened by his policies. The setting is the old Palacio del
Gobernador in Intramuros.
The Rape of Manila (1942) To this day, much is heard of the Rape of Nanking
when the rampaging Japanese Imperial Army killed 300,000 from 1937 to 1938
and raped 20,000 women in that Chinese capital.
It also reflected the destruction of a motherland, a devastation where scenes of
Filipino women being harassed and used as prostitutes, destruction of the city
(Manila), and rampant massacres were seen.

Content Analysis
Juan Luna was known for his historical paintings, particularly his masterpiece
"Spoliarium," which depicts fallen gladiators being dragged away from the arena.
His works often depicted scenes from Philippine history or classical mythology.
Luna's paintings are characterized by their dramatic compositions, intense
emotions, and meticulous attention to detail. He was also skilled at capturing the
play of light and shadow, which added depth and realism to his works.

Contextual Analysis
Luna was a key figure in the Philippine nationalist movement during the late 19th
century. His paintings, particularly "Spoliarium," served as a powerful commentary
on the socio-political realities of his time, highlighting themes of oppression,
exploitation, and the struggle for freedom. Luna's success as an artist also brought
him international acclaim, and he became the first Filipino to win a gold medal at
the prestigious Exposition Universelle in Paris in 1884.

Content Analysis
Fernando Amorsolo was known for his idyllic and romanticized portrayals of
rural Philippine life. His paintings often depicted scenes of lush countryside
landscapes, vibrant fiestas, and everyday activities of Filipino peasants. Amorsolo's
works are characterized by their warm, golden hues, soft brushwork, and nostalgic
charm. He had a keen eye for capturing the beauty and simplicity of rural life in the
Philippines.

Contextual Analysis
Amorsolo's paintings were created during a period of significant social and
political change in the Philippines. His romanticized depictions of rural life served
as a form of escapism for many Filipinos, offering a nostalgic glimpse into a
simpler and more harmonious past. Despite the idealized nature of his works,
Amorsolo's paintings also reflect the resilience and optimism of the Filipino spirit
in the face of adversity.
In summary, Juan Luna and Fernando Amorsolo were two of the most influential
Filipino artists of their time, each making significant contributions to Philippine art
in their own unique way. Luna's dramatic historical paintings provided a
commentary on the socio-political realities of his time, while Amorsolo's
romanticized depictions of rural life offered a sense of nostalgia and escapism for
many Filipinos.
Importance of their Artworks
Juan Luna:
• Nationalism and Identity: Luna's historical paintings, articularly
"Spoliarium," played a crucial role in promoting Filipino nationalism during
the late 19th century. By depicting scenes from Philippine history and
mythology, Luna helped foster a sense of pride and identity among
Filipinos.
• International Recognition: Luna's success on the international stage,
including winning a gold medal at the Exposition Universelle in Paris,
brought global attention to Filipino art and artists. His achievements paved
the way for future generations of Filipino artists to gain recognition on the
world stage.
• Artistic Legacy: Luna's mastery of composition, emotion, and technique set
a high standard for Filipino artists to aspire to. His influence can be seen in
the works of later generations of Filipino painters, who were inspired by his
dedication to excellence and his commitment to portraying the Filipino
experience.
Fernando Amorsolo:
• Cultural Representation: Amorsolo's paintings are often regarded as
quintessentially Filipino, capturing the essence of rural Philippine life with
warmth and nostalgia. His works serve as a visual documentation of Filipino
culture, traditions, and way of life during the early to mid-20th century.
• Promotion of Filipino Values: Amorsolo's idyllic portrayals of rural life
celebrated the simplicity, beauty, and resilience of the Filipino spirit. His
paintings often depicted themes of community, family, and joy, reflecting
values that resonated deeply with Filipino audiences.
• Artistic Innovation: Amorsolo's use of light, color, and brushwork
demonstrated a mastery of impressionistic techniques, which he adapted to
suit the Philippine landscape and subject matter. His ability to capture the
play of sunlight on the countryside and the vibrant colors of fiestas
contributed to the development of a distinct Filipino aesthetic in painting.
Contribution to Understanding Philippine History
Juan Luna:
• Historical Documentation: Luna's historical paintings, such as
"Spoliarium," "The Blood Compact," and "The Battle of Lepanto," serve as
visual records of pivotal events in Philippine history. These paintings
provide viewers with a tangible connection to the past and help to bring
historical narratives to life.
• Social Commentary: Luna's works often contained subtle or overt social
commentary, shedding light on the socio-political realities of his time. For
example, "Spoliarium" can be interpreted as a critique of the oppressive
colonial regime and the exploitation of the Filipino people.
• Nationalism and Identity: Luna's paintings played a significant role in
fostering Filipino nationalism during the late 19th century. By depicting
scenes from Philippine history and mythology with pride and reverence,
Luna helped to instill a sense of national identity and solidarity among
Filipinos.
Fernando Amorsolo:
• Cultural Representation: Amorsolo's paintings offer insights into the
cultural practices, traditions, and way of life of rural Filipinos during the
early to mid-20th century. His depictions of fiestas, rural landscapes, and
everyday activities provide a glimpse into the social fabric of Philippine
society during his time.
• Social Realism: While Amorsolo's works often romanticized rural life, they
also contained elements of social realism that reflected the struggles and
hardships faced by ordinary Filipinos. Through his paintings, Amorsolo
highlighted issues such as poverty, resilience, and community solidarity.
• National Identity: Like Luna, Amorsolo contributed to the development of
a distinct Filipino identity through his artworks. His paintings celebrated the
beauty and richness of Filipino culture, fostering a sense of pride and
belonging among Filipinos both at home and abroad
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• ^ “Peuple et Rois” by Juan Luna Archived January 29, 2010, at the