"Planting Rice" (1921). This painting depicts Filipino farmers working in a rice field with the iconic Mayon Volcano in the background. It portrays the idyllic and happy life of rural Filipinos, even in the midst of hard work. Amorsolo uses warm, golden tones and brilliant sunlight to give the scene a sense of peace and tranquility. The use of "linear and aerial perspective" adds depth and realism to the landscape.
"Planting Rice" (1921)
"Dalagang Bukid" (Maiden of the Countryside). A portrait of a young Filipina woman carrying a vessel, often seen as a symbol of innocence and purity. The painting is a prime example of Amorsolo's idealized vision of Filipina beauty: a woman with a round face, bright eyes, and a sweet smile. He uses vibrant colors and soft brushstrokes to portray the lush, flourishing environment, creating a sense of happiness and simplicity.
"Under The Mango Tree" (1949).
This painting shows a family resting under a mango tree, taking a break from their work in the fields. It celebrates the importance of the Filipino family and community. Amorsolo uses warm, complementary colors and his signature backlighting to highlight the intimate bond between the family members, creating a warm, inviting scene of domestic life.
This historical painting depicts three women Marcela Agoncillo, Lorenza Agoncillo, and Delfina Herbosa de Natividad sewing the first Philippine flag. Amorsolo painted this to honor the country's independence and remind people of its national traditions. He uses a classical, realistic style to render the figures and their setting, focusing on the solemnity and importance of the event.
"The Palay Maiden" is a portrait of a young Filipina woman holding a bundle of rice stalks ("palay"). She represents the Philippines' main crop and Amorsolo's ideal of Filipina beauty. The painting rejects Western beauty standards in favor of a distinctly Filipino ideal. The artist's signature backlighting technique is used to create a golden halo around the maiden, emphasizing her connection to the land and her serene beauty.
"The Burning of Manila" (1942). A departure from his usual serene landscapes, this painting is a powerful depiction of the destruction of Manila during World War II. Amorsolo witnessed the event himself and used his art to document the tragedy. He uses a dramatic palette of reds and blacks to represent the raging flames and thick smoke. He masterfully uses chiaroscuro (strong contrast between light and dark) to highlight the fiery destruction and the horror of the event.
Bayanihan by Carlos “Botong” Francisco exemplifies one of the famous cultures in the Philippines, which is Bayanihan that has a root word of “Bayani”, which simply means “Hero”. With this, this painting shows a hero to one another. The artwork entitled Bayanihan and its essence of being a bayan have often been associated with the ethos of community togetherness and collaboration.
In 1964 Francisco was commissioned by Manila City to paint a historical mural for the Bulwagang Katipunan. This visualizes in narrative way the history of Manila from Tondo's heroic rajahs up to the Spanish Colonial Period, the 1896 Philippine Revolution, the American regime, the Japanese occupation, and the post-war periods up to the 1960s. exemplifies a historic revolutionary in the Philippines. As depicted in the painting, it is Andres Bonifacio and his KKK members entering the revolution with the flag of the KKK.
The first mass which was celebrated on the island of Limasawa during Easter Sunday is demonstrated in the picture. The picture illustrates the concept that no matter a person’s nationality, a person who goes to a mass is accepted with open arms. In addition, the visuals such of the wooden cross, candles, the Bible as well as lit candles, and a priest also conveys the religious nature of the image.
"First Mass at Limasawa" (1965)
The painting illustrates the value placed by Filipinos on the development of education in stylized curvilinear figures. The variety of elements adds emphasis to the different regions in the painting, which showcase the associated historical events and people that brought the advancement of Philippine education. The balanced overall layout allowed the proper integration of many elements without making it seem overcrowded, with corner sections representing the Malays, Spanish priests, and American Christian missionaries. The center of the painting exhibits Jose Rizal, who is considered the father of the modern Philippine independence movement, being taught how to read and write by his mother, while beside them is a figure that portrays a cross representing Jose Rizal’s fate as a patriot. The overall harmony of the different features forms the unity of the piece, which delivers a strong, cohesive message.
"Progress Through Education" (1964)
Carlos "Botong" V. Francisco created The Martyrdom of Rizal Mural in 1973 for the National Museum to commemorate the assassination of Philippine national hero Dr. Jose Rizal on December 30, 1896. Francisco was noted for his large-scale historical paintings that contributed to create modernism in Philippine art, and the mural represents Rizal's death, which sparked Philippine nationalism and a desire for social change.
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Ang Kiukok explored the religious theme of the crucifixion multiple times throughout his career. One notable version, painted in 1969, is a powerful and unsettling depiction of the event. Unlike traditional portrayals, Ang Kiukok's Crucifixion features a disfigured, angular figure of Christ, its body twisted and contorted, conveying not only physical pain but also deep spiritual anguish. The raw emotion and stark composition reflect the artist's view on the turmoil and suffering of the world.
Crucifixion (1969)
Ang Kiukok also produced numerous works centered on the theme of fishermen, often portraying them in a dynamic and laborious struggle. His work titled Fishermen, created in 1981, is a prime example of this. The painting shows three figures straining to pull a net, their bodies depicted with sharp, fragmented shapes and exaggerated muscles. The composition emphasizes the intense effort and communal struggle of their work, reflecting the resilience and hardship of the Filipino people.
Fishermen (1981)
Created in 1982, Dog Fight is a quintessential example of Ang Kiukok's aggressive and powerful style. The painting depicts two dogs locked in a fierce, chaotic battle. The figures are rendered with sharp, jagged lines and a raw energy that fills the canvas. The work serves as a powerful metaphor for conflict, violence, and the brutal aspects of human existence, a recurring theme in the artist's body of work.
Dog Fight (1982)
While much of his work is characterized by anguish and conflict, Ang Kiukok also created tender and poignant pieces, such as his Mother and Child. One version, dated 1991, showcases a departure from his more aggressive style, yet retains his signature use of bold lines and geometric forms. The painting portrays a mother embracing her child, their figures intertwined and protected. Despite the angular shapes, the overall feeling is one of warmth, protection, and unconditional love, offering a glimmer of hope amidst a world of struggle.
Mother and Child (1991)
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Genesis is Ocampo's most celebrated work, a large abstract piece originally painted in oil on canvas in 1969. It was later recreated as a massive tapestry that serves as the curtain for the Main Theater of the Cultural Center of the Philippines (CCP). The artwork is characterized by its dynamic, cellular forms and a palette dominated by warm reds and oranges. It represents the "Genesis" or beginning of creation, with its abstract shapes and colors suggesting a sense of vital movement, as if new life forms are emerging and multiplying.
Genesis (1969)
Created in 1940, The Contrast is an early example of Ocampo's work that reflects the social turmoil of its time. The painting depicts two women, a fair-skinned one in a baro't saya and a dark-skinned one in tattered clothes, highlighting the stark disparity between the rich and the poor in Philippine society. The work is figurative, but it already shows Ocampo's developing style with its strong lines and expressive forms, foreshadowing his later move toward pure abstraction.
The Contrast (1940)
Homage to a Woman, painted in 1967, is another key work from Ocampo's "visual melody" period. This abstract piece is a tribute to the grace and beauty of women, expressed not through a realistic figure but through a rich symphony of colors and organic, fluid forms. The canvas is filled with a lush arrangement of interlocking shapes in a spectrum of deep reds, oranges, and yellows. The rhythmic flow and harmony of the shapes and colors create a luminous, glowing illusion of life.
Homage to a Woman (1967)
"If I could say it in words there would be no reason to paint." - Edward Hopper
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Sunburst (1994). This is an illuminated sculpture adorning the lobby ceiling of The Peninsula Manila hotel. It's a striking and iconic work that has become a symbol of the hotel itself.
It is one of Abueva's most iconic and recognizable works, symbolizing grandeur and a sense of familiarity with the sun.
"Sunburst"(1994)
The Transfiguration (1979). This is a monumental sculpture of Jesus Christ, arms outstretched and looking up to the heavens, symbolizing his ascension. The statue is a prominent landmark at the entrance of Eternal Gardens Memorial Parks across the Philippines. Its dimensions are symbolic, with the figure standing 33 feet tall (representing the years of Christ's life) on a 12-foot pedestal (representing his 12 apostles)
"The Transfiguration" (1979)
Nine Muses (Siyam na Diwata ng Sining). Located at the University of the Philippines Diliman, this sculpture features nine nude female figures, each representing one of the arts: architecture, dance, film, literature, music, painting, photography, sculpture, and theater. The figures, while having a neoclassical influence, are depicted in relaxed and dynamic poses, reflecting a modern sensibility.
It symbolizes the resilience and enduring spirit of the creative arts, having remained even after the Faculty Center fire.
"Nine Muses" (1994)
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This powerful masterpiece in Caloocan City commemorates the Philippine revolutionary hero Andres Bonifacio and the Katipunan. Tolentino completed this monument in 1933.
"The Bonifacio Monument" (1933)
Located at the University of the Philippines, this iconic statue of a nude man with outstretched arms represents a selfless offering of oneself to the nation. Commissioned to embody the second stanza of Jose Rizal's "Mi Ultimo Adios," the sculpture symbolizes academic freedom and the pursuit of truth and knowledge. It has become the enduring symbol of the university and a rallying point for protest and public service.
"The Oblation" (1935)
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