CHAPTER 2

“I’M A FILIPINO BUT I DON’T KNOW MANANSALA!

REDISCOVERING PHILIPPINE ART”
At the end of the chapter, the students should be able to:
• express their devotion to and interest in their national identity
through Filipino-inspired outputs such as writings, art criticism,
and simple artworks;
• be able to articulate knowledge about prominent and notable
Filipino artist: their lives, works, and influence inthe country;
• incorporate their national identity when criticizing works of art
by Filipinos; and
• interact and respond to the arts by being able to go to
museums and galleries and writing reviews or blogsabout the
works of art.
 LESSON 1
How Philippine Is Philippine Art?: A Survey on
the Markets of Our Artistic Culture
ABSTRACTION:
The following notable artists belongs to the artists who have captured our
Filipino sensibilities in their own way:
1. Fernando Amorsolo interpreted the “Philippine Light”
a) His style is comparable to impressionist painters such as , August
Renoir, Edouard Manet, and the 19-century portait artist, Auguste Dominique
Ingres. His expertise in oil as medium allowed him to paint luminous skin,
giving others the impression of life being present in his artworks.
b) He was coined as the master of Philippine Light. Philippine Light refers
to the light that when it strikes specific part of the artwork one can
immediately see the analogous or related colors that appear and at the
same time gave off warmth and idylic scenes being present in the Philippines.
ABSTRACTION:
b.“Music In The Tuileries”

a.“Dance at Le moulin de la Gallete”

Fernando Amorsolo’s “Baguio”

a. Auguste Renoir
b. Edouard Manet
c. Auguste Dominique Ingres

c. “Napoleon I on his Imperial Throne”

ABSTRACTION:
2. Vicente Manansala developed his rendition of transparent cubism
technique
a) Cubism pioneered by Pablo Picasso and George Braque, and was described
to be the most radical innovations of art “isms” since it constrasted greatly with
the classical perception of beauty. It uses overlapping and multi-perspective
geometric shapes and forms of the chosen subject to produce depth.
b) The cubist aspect of Manansala has broader facets and planes than the
original cubism so they bring out larger rhythms and is closer to Synthetic Cubism
rather in its earlier phase, which is Analytic Cubism. He furher developed it into
transparent cubism, which shows panels of shapes interfacing each other.
ABSTRACTION:
c) Unlike Amorsolo,Manansala
echoes the proleterian painters of
the United States. His works were
non-idylic: emotions and
backgrounds showing evidence of
real evnets happening at his time
and skin tones are not luminous
but rather kayumanggi.

Vicente Mansansala’s “Kalabaw”

ABSTRACTION:
3. Hernando R. Ocampo’s style was considered by some critics as the
most Filipino
a) Most of HR Ocampo’s works are purely abstraction, therefore it is
hard to pinpoint why he was described as the “most Filipino” painter
ever. However, it is not the content but rather the style of his works
where one can see his unique painterly approach.
b. What unique in his works are the abstract compositions of
biological forms that areportrayed in bold strokes of colors that seems
to oscillate before your eyes.His subject matters are nature’s flora and
fauna, hence reflective of the natural beauty of his country.
ABSTRACTION:

Hernando R. Ocampo’s
“Growth”
ABSTRACTION:

4. Napoleon Abueva’s modernist but Filipino-themed sculptures

a) Characterized by planar and geometric look of his sculptures,
Abueva veered away from the conservatism of his mentor, Guillermo
Tolentino.
b) He still kept Filipino themes in his sculpture. However, his bold
and edgy interpretationof such themes intensified the kind of spirit
present in his dynamic and often monumental sculptures.
ABSTRACTION:

Napoleon Abueva’s
“The Transfiguration”
 LESSON 2
What’s Happening?: A Bite of Visual Arts History
of the Country
ABSTRACTION:

1. Pre-colonial Indigenous Art

a) Characterized by use of materials found in the immediate
environment, combining functionally with aesthetics and art forms are
usually connected to traditional belief system and local values.
b) Clay pottery is one of the earliest forms of ancient art which is
evidence to artistic skill. The Manunggul jar of Palawan is a prominent
example. Other forms are Calatagan Jar which displays inscriptions on
its body and the Maitum Burial Jar. The Maitum is anthropomorphic,
meaning it mimics a human figure with facial expression of sadness and
joy on its face.
 ABSTRACTION:
A C
B

a. Manunggul Jar
b. Calatagan Jar
c. Maitum Burial Jar
ABSTRACTION:
Banga
Palayok
c) Other variations are the palayok which
is used for cooking, tha banga, tapayan (liquid
cantainer), and the burnay pottery of Ilocos.
d) Wood carving is another ar form. Our
animistic ancestors, mostly from the
Cordilleras, carved the Bul-ul and many
variations of it. The Bul-ul is bi-functional a
granary god and ancestral spririt. The okir on
the other hand is the curvilinear design and
Tapayan
motif
ABSTRACTION: Bul-ul Okir

on wood used by Maranao and

Tausug peoples. Principal design
are the sarimanok, the naga and Sarimanok Naga
the pako rabing. This is found
mostly in the extended floor
beams of the Maranao torogan,
which is Sultan’s house. Thev
ariation of ornamentation can be
found in the malong (cylindrical
Maranao skirt) and even in stone
grave-makers.
Pako Rabing
ABSTRACTION:

2. Hispanic Influence (1800’s) Miagao Church (Miagao, Iloilo)

a) The main form of art is the
church; hence, work are mostly
concerned with religous subject
matters.
b) The notable artworks are
(Philippine flora and fauna), and the
Letras Y Figuras.
c) Filipinos were trained by friars Letras Y Figuras
and but they adhered to a more rich
palette.
ABSTRACTION:

3. American Influence (1900’s)

a) Closing of the Escuela de Pintura, Grabado Y Escultura which paved
for the opening of small space workshops led by artist to train pupils.
b) Photoethnography was done by American soldiers to “prove” the
uncivilicized and primitive people of the Philippines.
c) Forces of art were commissions, sales, gifts, and opening of new
American-based businesses.
d) Filipinos started getting involved in international art expositions
like Felix Resurreccion Hidalgo.
ABSTRACTION:

4. Second Republic: 1942-1945

a) Japan occupies the country and laid the groundwork for cultural
regeneration, dissipating American influence.
b) Some artist involved in the movement were conservatives
Fernando Amorsolo, his brother Pablo, Guillermo Tolentino,
Dominador and Castañeda, and modernist Victorio Edades, Galo
Ocampo, and Hernando Ocampo.
c) Art became a vehicle of influence of the Japanese to control the
Filipino spirit by restricting their artistic expression.
ABSTRACTION:

5. Third Republic: 1946-1972

a) Rise modernism spearheaded mostly by HR Ocampo, Victorio
Edades, and Napoleon Abueva.
b) Art Association of the Philippines was formed along with the
Philippine Art Gallery (PAG).
c) Main art movements were realism and neo-realism with media-
related conventions like komiks and editorial cartoons.
ABSTRACTION:
6. Fourth Republic: 1976-1986
a) Marcos era: Marcos monument was created but was later destroyed.
b) First Lady Imelda Marcos’ efforts: Cutural Center of the Philippines
(CCP), National Arts Center, and Philippine High School for the Arts. The
CCP was envisioned as a shrine for high art and the avante garde.
c) Prominent artist were Chabet, Fernando Zobel, Raymundo Albano
along with the modern artists Manansala who painted “Madonna of the
Slums”; Benedicto Cabrera (Bencab) produced protest and revolutionary
art through his paintings and prints.
d) Antipas Delovato paintedd with watercolor a very striking work
entitled “Itak sa Puso ni Mang Juan”.
ABSTRACTION:
7. Fifth Republic Onwards: 1986-Present
a) Contemporary Philippine Art
b) Rise of commercial galleries, improvment of institutions, and
formation of more art groups and collectives.
 LESSON 3
What is the Shape of the Philippine Art?: Forms
of our Art
ABSTRACTION:
Forms of Local Arts
Graphics Art -usually
identified with advertising
art because of their flat
and graphic style for easy
reproduction
Assemblage -
characterized by the
collection and assembly of
found ussually on a flat
surface. Imagine a collage
but with a volumetric
objects
ABSTRACTION:
Bamboo Art Food Art

Basketry Furniture

Book Design Installation and Site

Specific Art
ABSTRACTION:
Dress Komiks and Editorial Cartoon

Embroidery Leaf Art

Effiges - Protest art in sculptural Printmaking - reproduction of

form made with papier machie several originals using a series of
which is mostly burned later to printmaking techniques. These are
symbolize opposition all made by hand, one by one.
ABSTRACTION:
Mat Weaving Photography

Metalcraft Pottery

Multimedia Sculpture
ABSTRACTION:

Painting and Related Forms Sound Art

Paper Art Tattoo Art

Performance Art Video Art

Personal Ornaments
ABSTRACTION:
Philippine Materials:
• Clay: eartware, red clay called terra-cota, stone-ware, and porcelain
• Wood: wood carving used in bul-uls, sunduls (grave markers),
paanolong (house beams), santos (graven images)
• Tools: paet (carving tool), hiwas (skew), landay (shallow gauge), lukob
(deep gauge), trespico or tatlong kanto (parting tool), encarnacion or
encarnado santos-rendering of flesh tones
• Furniture: Floral and curving vine designs in Pampanga
• Sculptures of toothpick trees, fantasy birds, and fans in Paete, Laguna
• Taka or papier machie in Paete and creating higantes in Angono, Rizal
ABSTRACTION:
• Papel de Hapon for the pabalat wrapper traditon of paper cutting in
Bulacan
• Philippine hardwood: warmth of tone and natural coloration that
ranges from dark brown to yellow, to reddish hues, as well as fine
grain texture
• Retablos by Napoleon Abueva for chapels
• Weathered wood: artists Jerusalino Araos and Rey Paz Contreras used
old railroad tracks or stairs and beams of demolished houses
• Bamboo and rattan: Kenneth Cobonpue
• Mindanao Wood: tail ends of houses
ABSTRACTION:
• Basketry: buri, rattan, pandan, bamboo splits, ibus, nipa palm, saha
(banana pulp), hat making
• Food: kiping (rice wafer forr the pahiyas decoration); dayap food
wood carving in Bulacan
• Metal: bronze or brass using ciere perdue or “lost wax method”. Using
wax for mold. Spaghetti strips of wax is placed on outer layer of brass
to create the designs. Pukpuk method.
• Stones and precious stones
• Fiber, dyes and pigments
 LESSON 4
How Do I Behave Myself in a Gallery?
ABSTRACTION:
1. How you dress - you don’t need to wear too flashy or too formal outfits
everytime you go inside a museum. Instead, wear clothes which would
show respect to such settings
2. Where should you eat - eating is only allowed in the museum’s cafeteria,
only if one is present.
3. When taking photos - avoid using flash photography. The flash speeds up
the fading process of an artwork artworks, especially those light-sensitive
ones.
4. Selfies and funny poses - a lot of paintings and artifacs in a museum depics
some of the most important events of a certain country so behavior should
properly coordinated.
5. Taking and jesting - discuss any artwork you like, in a normal voice volume
6. Touching - most artworks deteriorate upon contact on human sweat, so
avoid touching artworks as least as possible.
ABSTRACTION:
Knowing the National Museum of the Philippines
The National Museum of the Philippines is a public space
for our nations greatest artwork and artifact and a place to
witness the beauty seen our local artists’ and the beauty
within our history’s momento. It was mandated in the year
1998 to acquire, document, preserve, exhibit and foster
scholarly studies and public appreciation of works of art,
specimens and cultural and historical artifacts representative
of our unique cultural heritage and natural history.
ABSTRACTION:
• It has 19 regional branches throughout the archipelago comprising
the national network
• The museum areas are in a complex: The National Art Gallery was
formerly the Legislative Building occupied by the Senate an The House
Represative; The National Museums of National History was formerly
The Department of Tourism Building.
• The architechtural design of the buildings are neoclassical style
• Came to reality by virtue of the National Museum Act of 1998
 LESSON 5
What NOW?: The Contemporary Times
ABSTRACTION:
The postmodern art in the Philippines ended in EDSA 1
Revolution. All of once Marcos-controlled institutions got
reformed during the Aquino government. The CCP got
thrusted by primarily reforms namely Filipinization,
democratization, decentralization, and artistic excellence. This
opens a opportunity to once marginalized artists and groups
of artists to display their works to the public. Filipinos gained
more access to art collection and granted the rights to
produce and exhibit their own collection of self-produced and
original artworks.
ABSTRACTION:
Below are the implications of contemporary issues for some artist
whose works echoes the issues you have discussed and debated
previously.
1. BenCab - National Artist for Visual Arts- Benedicto Cabrera has span
a lot of important periods in our history, especially the postwar
period. One of his work series entitled “Sabel” depicts the
disorientation that Filipinos experienced during the postar period.
2. David Medalla - “The Avatar in Europe in performing arts”, as
described by the art critic Leo Benesa. Performance art is one of the
new artistic expression of the contemporary period where the
artist himself is the artwork.
ABSTRACTION:

3. Pacita Abad - One of the women artist in the country that has
produced strong voice and identity when it comes to women’s art.
Born in Batanes, her works are characterized by bold and bright
colors.She has traveled to more than 50 countries with works
exhibiteed to more than 200 galleries.
4. Elmer Borlongan - painter of Filipino nuances which he depicted
with his much dignity in his masterful works. His Painting are
mostly figurativewith the subject matters that tackles mostly the
daily and mundane activities and interactions of Filipinos. He is one
of the most exceptional in the aspect of paintings in our country
ABSTRACTION:

5. Mark Salvatus - Salvatus has created much discourse and narrative

in his works on the notions of urbanization, Internet, and
technological age, with political, social and economic grounding.
His works are considered intermedia, combining mark-making,
sounds, videos and found objects in his works.
6. Leeroy New - One of the youngest recipients of Thirteen Artist
Awards, Leeroy is an artist of his know, known mostly for his
installation art that are often other-wordly with an alien feel. he
pioneered the “Aliens of Manila’, which where curated photographs
of people wearing his creations of body suits and headgears.
ABSTRACTION:

7. Archie Oclos - He has always benn active in the public sphere,

painting murals depicts social realities of both the present and the
memories of the memories of the past governments. He was
recently awarded one of the Thirteen Artist of CCP.
8. Mars Bugaoan - A young and emerging artist whose work echo the
displacement that we often experience because of the demands of
work and globalization. His works have evolved from printmaking to
being sit-responsive incorporating the landscape of the site into the
installation of the art piece.
Questions:
1. Name at least three (3) notable artist that captured our Filipino
sensibilities in their own way.
2. Give at least two (2) eras in Philippine art.
3. Give at least five (5) local forms of arts in the Philippines.
4. Give at least three (3) materials used in Philippine art.
5. Give at least two (2) things to remember in behaving oneself
inside a museum.
6. He is the National Artist for Visual Arts.
7. He belongs to the one of the youngest recipients of Thirteen
Artist Award.
8. He is an artist whose painting are figuratively conveyed.
9.He is one of the Filipina artist who created strong voice and
identity in women's art.
10. He is an artists whose work are considered intermedia.