Ang mga gawa ni Amorsolo - na may mga paksang buhay-sa-kabukiran - ay itinuturing ng mga

tagapagtangkilik ni Amorsolo bilang "tunay na paglalarawan ng kaluluwa ng mga Pilipino."[7]

Subalit, may mga tumutuya at nagsasabing nagpadala si Amorsolo sa takbo ng komersiyalismo,
at gumagawa lamang siya ng mga larawang pang-alaala (mga souvenir) para sa mga sundalong
Amerikano.[7] Noong 1948, isinulat ng manunuring si Francisco Arcellana na ang mga gawang
larawan ni Amorsolo ay "walang masasabi" at hindi mahirap unawain sapagkat "wala namang
dapat unawain."[7] Sinuri ng mga manunuri ang mga paglalarawan ni Amorsolo ng mga katauhan
noong kapanahunan ng Magkakasamang-Yaman ng Pilipinas, ang may malaking bilang na mga
gawain ni Amorsolo noong nasa mga gitnang-gulang pa lamang siya, at ang may malaking
bilang na mga larawang pangkasaysayan.[7] Kaugnay ng huli, sinabi ng mga manunuri na ang
"ugaling pansining ay sadyang hindi bagay sa pagpapasibol ng damdaming lubhang makaaantig
at nauukol para sa ganiyang mga gawa."[7]
Subalit, may isang manunuri ang nagsabi na bagaman ang karamihan sa mga may sampung
libong mga gawa ni Amorsolo ay hindi karapatdapat para sa isang katulad ni Amorsolo at sa
kaniyang likas na kakayahang pansining, ipinagdiinan ng manunuring ito na mas nararapat
lamang na husgahan si Amorsolo batay sa mga pinakamakahulugang obra niya imbis na batay sa
mga pinakapangit o walang sapat na halaga.[7] Tinuturing na ang mga maliliit na larawang
tanawin ni Amorsolo, lalo na yung nalikha noong nagsisimula pa lamang siya sa larangan ng
pagpinta, bilang pinakamahahalagang mga gawa ni Amorsolo.[7] Maituturing si Amorsolo bilang
isang dalubhasa sa pagpinta ng mga tanawin sa Pilipinas, isang dalubhasang higit pa kina Juan
Luna at Felix Resurreccion Hidalgo na gumawa rin ng mga larawang tanawin ng Pilipinas na
may katulad na mga sukat.[7]

Nakilala si Tolentino sa buong bansa nang dahil sa

Monumento ni Bonifacio na may maraming pigurang kasinlaki ng tao na dinisenyo noong 1930
at inilantad noong 1933. Nakapaglikha din siya ng iba pang mga tanyag na bantayog tulad ng
mga Oblasyon ng Pamantasan ng Pilipinas, ang bantayog ni Pangulong Ramon Magsaysay sa
bulwagang pasukan ng GSIS, at ang Lualhati ngPamantasan ng Silangan.

Nakapaggawa rin siya ng mga maraming rebulto ni Lapulapu, Antonio Luna, Gregorio del Pilar,
Jose Rizal, Manuel Quezon, Epifanio de los Santos, A.V.H Hartendorp, Fernando Amorsolo,
Carlos P. Romulo, Jose Cojuangco, Manuel Roxas, Jaime at Sofia de Veyra.
Kinumpleto niya ang ugnay-ugnay ng anim na pansilangang mananayaw, kabilang ang
mananayaw na pambibliya na si Salome, Maria Clara, Persyana, Havanesa, at mga mananayaw
Tsino. Nakagawa siya ng pigurang alegorika tulad ng mga Pilipina, tinatawag din Alipin, isang
pigura ng babaeng hubad na nakagapos ng mga guyuran. Nakagawa rin siya ng mga imaheng
panrelihiyon, tulad ng Imakuladang Konsepsyon at ang Madona at ang Bata. Dinisenyo niya ang
Gawad Maria Clara para sa pelikula, at iba pang mga tropeo at medalya.

Ang Spoliarium ay ipininta ng kilalang mahusay na pintor na si Juan Luna. Ang Spoliarium ay
ipinasa ni Juan Luna sa Exposicin Nacional de Bellas Artes noong 1884, kung saan ito ay
pinarangalan ng gintong medalya. Noong 1886, ito ay ipinagbili sa Diputacin Provincial de
Barcelona sa halagang 20,000 pesetas. Ito ay kasalukuyang nakasabit o nakalagay sa main
gallery ng unang palapag ng Pambansang Museo ng Pilipinas. (wikipedia)
Pinakikita ng likhang ito ang isang madugong bahagi ng kasaysayang Romano, ang labanan ng
mga gladiator. Ang Spoliarium ay isang salitang Latin na tumutukoy sa pinakailalim na palapag
ng Koloseo ng Roma na kung saan dinadala ang mga namatay at naghihingalo pang gladiator.
Dito rin sila hinuhubdan ng kanilang mga kagamitan.
Nasa sentro ng likhang ito ang mga nakahandusay na gladiator habang hinihila ng mga
Romanong kawal. Sa kaliwang bahagi, makikita ang mga taong nagmamasid at naghihintay na
kunin ang mga helmet at iba pang kagamitang panlaban ng mga gladiator. Kabaligtaran ng
kaguluhan sa kaliwa, isang tahimik at malungkot na larawan naman ang makikita sa bandang
kanan. Isang matandang lalaki ang may dalang sulo na animo hinahanap ang kanyang anak,
habang isang babae naman ang nakahandusay at iniiyakan ang kanyang namatay na minamahal.
Ang Spoliarium ang pinaka-mahalagang likha ni Juan Luna, isang Pilipinong pintor na nakapagaral sa Academia de Dibujo y Pintura sa Pilipinas at sa Academia de San Fernando sa Madrid,
Spain. Sa sukat na 4.22 metro at 7.675 metro, ito ang pinakamalaking oleo-sa-canvas ng
Pilipinas. Isang halimbawa ng makasaysayang likha, ito ay ginawa ni Luna noong 1884 bilang
lahok sa prestihiyosong Exposicion de Bellas Artes (Madrid Art Exposition, Mayo 1884) at
nagtamo ng Unang Gintong medalya.

Man and Woman

Eduardo

A self-confessed Manila boy, it may be difficult to imagine the respectable and distinguished
artist getting into fights in the city streets, yet such are the colorful memories that marked his
youth. I was delinquent, Castrillo recalls. I grew up in the street, you have to fight in the street
in Manila. Thats why I was sent to Don Bosco for reformatory. So, the brothers and priests
strengthen me.
Castrillos artistic spirit also runs in the blood. My father was a master jeweler, says Castrillo.
My brother is one of the top illustrators in comics, Amado Castrillo, and my mother was more
of a thespian; she was the queen in Makati with the Zarzuelas. I think its all imbued in me and I
feel gifted because God has given me this kind of creative talent, and He honed me to be what I
am. Of course it takes a lot of hardships, a lot of torturous hardships, but it enriches me, it makes
me strong to be more understanding and concerned of the people who need my help and
services.
Following his destiny, Castrillo went to study at the University of Santo Tomas in the College of
Fine Arts, taking up a major in Advertising. I had to maximize the limited time because I was a
working student. The artist did this by taking a variety of studies that would help him with his
craft, such as going to architecture classes or chemistry classes to study the mixture of glass.
Castrillo went on to work, making a lucrative and successful career as a jewelry designer and art
director. However, craving for massive modes of expression, he went to work putting together a

solo exhibition. My first one man show was in 1966, he shares. I was working on all
conceivable medium, metal, ivory. To call it a success would be an understatement; Castrillo
had taken the art scene by storm. His name sky rocketed and has since then kept its place as a
bright shining star among the galaxy of artists that make up the Philippine art scene. Even before
Martial Law, he was awarded multiple awards, among them the Cultural Heritage Award known
to be the highest at the time.
Castrillo has not looked back since, continuously creating masterpieces such as abstract and
cultural monuments, figurative and functional art pieces, portraits, relief structures, liturgical
designs and stunning jewelry that have been collected by the liked of style icons Sofia Loren and
Jackeline Kennedy.
However, the success of Castrillo can be attributed to more than his talent; it is also a product of
his intellectual curiosity and commitment to learning. He continues: I indulged myself to study
the culture of India and China because that is the influence of Asia, in the same comparison the
western art came from the Greeks, it enhances their heritage. I studied it but I anchored myself to
the oriental heritage so that becomes my statement. Abstraction is a natural element of human
refinement. When you create an abstraction it is not western, its a natural occurrence, and its
like your signature.
Despite the recognition that Castrillo found early on in his years, his heart remains at home in the
country that raised him. Botong Francisco to me is the greatest painter and he stays around and I
believe in that. In 1966, after my one man show, I was offered three scholarships abroad,
Rockefeller, Fulbright and in the Spanish Embassy. I declined it.
In a way, Castrillo uses his art as a voice to cry out for more appreciation of our culture and
validation of our nation. In seeing the inherent imperfections and shortcomings of our people,
Castrillo also sees an opportunity to improve. In the Philippines we have the heritage of
smallness, laments Castrillo. We make ourselves small. I want to change that. When I came
into the scene I wanted to make big monuments. I said, I have to come out to help change the
psychological heritage that we have. I created big artworks. I have to show them that Filipinos
can do this.
Castrillo is a testament of spiritual strength, always making sure that his piece is nothing less
than an expression of his utmost being. Ever since we have been practically dominated but now
with mind and strength of being you can deter that, you have the courage to fight and to create.
After all as a human being we need so little to live and when you are satisfied with anything that
simple you have, then that becomes your strength. You dont have to follow anybody, you dont
have to be corrupted you dont have to align yourself with the wannabes.
When asked why his works have always been associated with such proud nationalistic
sentiments, the master artist simply says that, Its the intrinsic values that I have; first to God,
second to country. If I am a tree that would be the fruit I would bare. That is why I fortify myself
so that anything that I create is practically the output of my beliefs.

Read more at http://www.mb.com.ph/eduardo-castrillo-monumental-words-ofwisdom/#EFsRJv1ZixOAg5bc.99

Arturo R. Luz
From Wikipedia, the free encyclopedia

Arturo Rogerio
Born
Occupation

November 20, 1926

Artist, Art administrator

Arturo Rogerio Luz (born November 20, 1926) is a Philippine National Artist awardee in visual
arts. He is also a known printmaker, sculptor, designer and art administrator. A founding member
of the modern Neo-realist school in Philippine art, he received the National Artist Award, the
country's highest accolade in the arts, in 1997.[1]
Luz has produced art pieces through a disciplined economy of means. His early drawings were
described as "playful linear works" influenced by Paul Klee. His best masterpieces are
minimalist, geometric abstracts, alluding to the modernist "virtues" of competence, order and
elegance; and were further described as evoking universal reality and mirrors an aspiration for an
acme of true Asian modernity.[2]

Napoleon Abueva
Tumalon sa: paglilibot, paghahanap

Napoleon Abueva (Picture from ([1]).

Si Napoleon Veloso Abueva, sa gulang na 46, ang pinakabatang Pilipino na nakatanggap ng

parangal na Pambansang Alagad ng Sining. Siya rin ay kilala bilang Ama ng Makabagong
Iskultura sa Pilipinas. Nagamit na niya halos lahat ang iba't ibang uri ng materyal, mula sa
matigas na kahoy (molave, acacia, langka, ipil, kamagong at kawayan) hanggang adobe, metal,
bakal, semento, marmol, tanso, atbp.

Mga nilalaman

1 Pinagmulan at Edukasyon

2 Ilang mga gawa

3 Mga Parangal

4 Sanggunian

5 Pagkilala

Pinagmulan at Edukasyon
Ipinanganak siya noong 26 Enero 1930 sa Bohol at supling nina Teodora Abueva at Purificacion
Veloso. Siya ay ikinasal kay Sergia Valles kung saan siya ay may tatlong anak, isa na rito si
Mulawin na isa ring iskultor.
Siya ay nagtapos ng Bachelor of Fine Arts sa Unibersidad ng Pilipinas noong 1953; at nagkamit
ng Master of Fine Arts sa Cranbrook Academy, Michigan, sa Estados Unidos ng Amerika.

Ilang mga gawa

Moses, 1951

Rice Planting, 1952

Kiss of Judas, 1955

Water Buffalo, 1968

Birds, 1971

Alabaster City, 1971

To and From the Sea, 1978

Transfiguration, sa Eternal Garden Memorial Park, 1979

Nine Muses, at the UP Faculty Center, 1994

Sunburst, at the Peninsula Manila hotel, 1994

Ang ilan din sa kanyang mga likhang-sining ay matatagpuan sa UP Diliman:

1957 Crucifix with Two Corpora, sa Parish of the Holy Sacrifice

1962 University Gateway (UP Gates)

1967 Tribute to Higher Education, sa bungad ng University Avenue

1979 The Spirit of Business, sa harap ng College of Business Administration

1992 Diwata, sa Faculty Center

1996 Alma Mater, sa lobby ng Ang Bahay ng Alumni

1996 Three Women Sewing the First Philippine Flag, tinatawag ding Tres
Marias Plaza, sa UP Donors Garden, bilang parte ng selebrasyon sa
sentenaryo ng rebolusyon noong 1896

Mga Parangal
Kabilang sa kaniyang mga gawad at pagkilala ang sumusunod:

Unang gantimpala sa eskultura, Art Association of the Philippines, noong

1951

Dalawang unang gantimpala sa AAP noong 1952

Karangalang-banggit sa International Sculpture Competition mula sa Institute

of Contemporary Arts sa London noong 1953

Purchase Prize para sa kaniyang obrang Kiss of Judas sa Relihiyosong

Pagtatanghal ng Sining sa Detroit noong 1955

Natatanging Gawad para sa timpalak sa Di-kilalang Kawal na Politikal na

itinaguyod ng Institute of Contemporary Arts ng London

Iskolarship sa Harvard University noong 1956

Gawad Ten Outsatanding Young Men (TOYM) noong 1959; Republic Cultural
Heritage Award noong 1966 *Gawad Pambansang Alagad ng Sining para sa
Eskultura noong 1977.

Nagsilbi siyang dekano ng UP College of Fine Arts nang ilang taon, at kasalukuyang isa sa mga
eksperto sa lupon ng Pambansang Museo.

Artist: Vicente Rivera

Painting: Supplication
Vicente Rivera, a master in Philippine paintings, is commonly underrated due to the

rarity of his
works. During his early years in education, he
received a silver medal after taking two head studies. He also received various
nominations and awards in the field of painting. Unknown to everyone, he is one of

the founders of U.P. School of Fine Arts. His famous work, Supplication, depicts a
picture of a woman kneeling down on the nailed feet of Jesus on the cross. The
painting has a dramatic background to clearly express the desperate state of the
woman. It is a famous example of a stylish and an organized approach in Philippine
paintings. Riveras organization in paintings made it more appealing to the subject,
thus, inspiring painters to put more passion in their painting rather than painting to
make names for themselves.
Edson Byron K. Sy
Source: Pamana: The Jorge B. Vargas Art Collection
(by Santiago Albano Pilar; published on 1992 by Committee on Arts
and Culture,Vargas Centennial Celebrations, and the University of the Philippines)