LIST OF THE NATIONAL ARTIST

AWARDESS AND THEIR CONTRIBUTION

GROUP2
MEMBERS
VERNA MAE BASCOS
MHARLON BAGALLA
MARK EDISON BERMUDEZ
 FEDERICO AGUILAR ALCUAZ
BORN ON JUNE 6,1932-DIED ON FEBRUARY2, 2011

Federico Aguilar y Alcuaz, who signed his works as Aguilar Alcuaz was an artist of voluminous output.
He is known mainly for his gestural paintings in acrylic and oil, as well as sketches in ink, watercolor,
and pencil. He was also a sculptor of note and has rendered abstract and figurative works in ceramics,
tapestries and even in relief sculptures made of paper and mixed media, which he simply calls
“Alcuazaics.” The preference to use his maternal name was more for practical reasons; Alcuaz was rarer
than the name Aguilar, and thus ensured better recall; it was also simpler to drop the customary y
between the two names.
 SAMPLES OF ARTWORK

One of the leading contemporary art galleries in Known for his tres marias genre, National artist Federico Aguilar
the Philippines, representing international and Alcuaz applies his renowned playful technique to depict three
local artists. languorous women laying back , a contemporary vision that is in
sharp contrast to his more commoly known painting of sophisticate
and elegant women.
 NAPOLEON V. ABUEVA
BORN ON JANUARY26,1930 DIED ON FEBRUARY
16 ,2018

Napoleon V. Abueva was recognized

as the Father of Modern Philippine
Sculpture. His moderist approach can
be seen in his explaration of various
media such as
molave,acacia,langka,ipil,kamagong,
palm,
adobe,cement,marble,bronze,iron,
brass,among others. Napoleon was
proclaimed national artist for
sculpture in 1976 when he was 46,
making him the youngest recipient of
the award to date.
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Some of his major works include

kaganapan[1953],kiss of judas[1955],Thirty Pieces of
silver, The Transfiguration[1979],Eteranl Garden
Memorial Park,UP Gateway[1967], Nine Muses
[1994],UP Faculty Center,Sunburst [1994]-Peninsula
Manila Hotel, the bronze figure of Teodoro M.
 J. ELIZALDE NAVARRO
BORN ON MAY22,1924-DIED ON
JUNE 10 1999

He is a versatile artist, being both proficient painter and sculptor. His devotion to the visual arts spanned 40 years of
drawing ,printmaking,graphic designing, painting and sculpting. His masks carved in hardwood merge the human and the
animal; his paintings consists of abstracts and figures in oil and watercolor, and his assemblages fuse found objects and metal
parts.He has done a series of figurative works drawing inspiration from Balinese art and culture ,his power as a master of
colors largely evident in his large four- panel The Seasons[1992: prudential bank collection].
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Elizalde Navarro was prolific painter,sculptor, and graphic

designer.Initially known for abstract paintings in oil and
watercolor, Navarro worked in a range of mediums , creating
painted steel sculptures, mixed- media assemblages,reliefs pf
found objects, and hardwood masks.
 FRANCISCO COCHING
BORN ON JANUARY 29,1919-
SEPTEMBER 1,1998

Acknowledged as the “Dean of Filipino Illustrators” and son of

noted Tagalog novelist and comics illustrator Gregorio
Coching, Francisco Coching was a master storyteller ― in
images and in print. His illustrations and novels were products of
that happy combination of fertile imagination, a love of storytelling,
and fine draftsmanship. He synthesized images and stories
informing Philippine folk and popular imagination of culture. His
career spanned four decades.
Starting his career in 1934, he was a central force in the formation
of the popular art form of comics. He was a part of the golden age
of Filipino comics in the ’50s and ’60s. Until his early retirement in
1973, Coching mesmerized the comics-reading public as well as
his fellow artists, cartoonists, and writers.
SAMPLE OF ARTWORK

He synthesized images and stories informing

Philippine folk and popular imagination of
culture. His career spanned four decades. Starting
his career in 1934, he was a central force in the
formation of the popular art form of comics. He was a
part of the golden age of Filipino comics in the '50s
and '60s.
Painting distorted human figures in rough, bold impasto strokes, and standing tall and singular in
his advocacy and practice of what he believes is the creative art, Victorio C. Edades emerged as
the “Father of Modern Philippine Painting”. Unlike, Amorsolo’s bright, sunny, cheerful hues,
Edades’ colors were dark and somber with subject matter or themes depicting laborers, factory
workers or the simple folk in all their dirt, sweat and grime. In the 1930s, Edades taught at the
University of Santos Tomas and became dean of its Department of Architecture where he stayed
for three full decades. It was during this time that he introduced a liberal arts program that offers
subjects as art history and foreign languages that will lead to a Bachelor’s degree in Fine Arts.
This development brought about a first in Philippine education since art schools then were
vocational schools.
It was also the time that Edades invited Carlos “Botong” Francisco and Galo B. Ocampo to
become professor artists for the university. The three, who would later be known as the formidable
“Triumvirate”, led the growth of mural painting in the country. Finally retiring from teaching at age
70, the university conferred on Edades the degree of Doctor of Fine Arts, honoris causa, for being
an outstanding “visionary, teacher and artist.”
SAMPLE OF ARTWORK

The Builders” by Victorio Edades

It was frowned upon due to the disproportions, dark

colors, and rough strokes, which contrast the lively
colors and cheery scenes common in paintings at
that time. It was so unusual that not even one
painting
Jose Joya is a painter and multimedia artist who
distinguished himself by creating an authentic
Filipino abstract idiom that transcended foreign
influences. Most of Joya’s paintings of harmonious
colors were inspired by Philippine landscapes, such
as green rice paddies and golden fields of harvest.
His use of rice paper in collages placed value on
transparency, a common characteristic of folk art.
The curvilinear forms of his paintings often recall the
colorful and multilayered ‘kiping’ of the Pahiyas
festival. His important mandala series was also
drawn from Asian aesthetic forms and concepts.
SAMPLE OF ARTWORK He espoused the value of kinetic energy and
spontaneity in painting which became significant
artistic values in Philippine art. His paintings
clearly show his mastery of ‘gestural paintings’
where the paint is applied intuitively and
spontaneously, in broad brush strokes, using
brushes or spatula or is directly squeezed from
the tube and splashed across the canvas. His
1958 landmark painting Granadean
Arabesque, a work on canvas big enough to be
called a mural, features swipes and gobs of
impasto and sand. The choice of Joya to
represent the Philippines in the 1964 Venice
Biennial itself represents a high peak in the rise
of modern art in the country.
Joya also led the way for younger artists in
bringing out the potentials of multimedia. He
designed and painted on ceramic vessels,
plates, and tiles, and stimulated regional
workshops. He also did work in the graphic arts,
particularly in printmaking.
Born to immigrant Chinese parents Vicente Ang and Chin Lim, Ang Kiukok is one of the most vital and
dynamic figures who emerged during the 60s. As one of those who came at the heels of the pioneering
modernists during that decade, Ang Kiukok blazed a formal and iconographic path of his own through
expressionistic works of high visual impact and compelling meaning.

He crystallized in vivid, cubistic figures the terror and angst of the times. Shaped in the furnace of the
political turmoil of those times, Ang Kiukok pursued an expression imbued with nationalist fervor and
sociological agenda.
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Ang Kiukok was a Filipino painter known

for his expressive, Cubist-like works. He
often chose dynamic or disturbing subject
matter, frequently depicting rabid dogs,
crucifixions, and screaming figures in an
abstracted geometric style.
Vicente Manansala‘s paintings are described as visions of reality
teetering on the edge of abstraction. As a young boy, his talent was
revealed through the copies he made of the Sagrada Familia and
his mother’s portrait that he copied from a photograph. After
finishing the fine arts course from the University of the Philippines,
he ran away from home and later found himself at the Philippines
Herald as an illustrator. It was there that Manansala developed a
close association with Hernando R. Ocampo, Cesar Legaspi, and
Carlos Botong Francisco, the latter being the first he admired most.
For Manansala, Botong was a master of the human figure. Among
the masters, Manansala professes a preference for Cezanne and
Picasso whom he says have achieved a balance of skill and artistry.
He trained in Paris and at Otis School of Drawing in Los Angeles.
Manansala believes that the beauty of art is in the process, in the
moment of doing a particular painting, closely associating it with the
act of making love. “The climax is just when it’s really finished.”
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Filipino artist Vicente Manansala was one of the

first Abstractionists on the country's art scene. The
Cubist paintings and illustrations depicting
contemporary life at the time were credited for
bridging the gap between rural and city life.