Amorsolo used natural light in his paintings and developed the

Félix Resurrección Hidalgo y Padilla (21 February 1855 - 13

backlighting technique, which became his artistic trademark and his
March 1913) was a Filipino artist. He is acknowledged as one of the
greatest contribution to Philippine painting.[2]HYPERLINK \l
great Filipino painters of the late 19th century, and is significant in
"cite_note-Encyclopedia-2"[3]HYPERLINK \l "cite_note-
Philippine history for having been an acquaintance and inspiration for
GlobalPinoy-7"[8] In a typical Amorsolo painting, figures are
members of the Philippine reform movement which included José
outlined against a characteristic glow, and intense light on one part of
Rizal, Marcelo del Pilar, Mariano Ponce and Graciano López Jaena,
the canvas highlights nearby details.[3] Philippine sunlight was a
although he neither involved himself directly in that movement, nor
constant feature of Amorsolo's work; he is believed to have painted
later associate himself with the First Philippine Republic under
only one rainy-day scene.[3]
Emilio Aguinaldo.
Vicente Silva Manansala (January 22, 1910 - August 22, 1981) was
His winning the silver medal in the 1884 Madrid Exposition of Fine
a Philippine cubist painter and illustrator.[1]
Arts, along with the gold win of fellow Filipino painter Juan Luna,
prompted a celebration which was a major highlight in the memoirs
Manansala was born in Macabebe, Pampanga. From 1926 to 1930, he
of members of the Philippine reform movement, with Rizal toasting
studied at the U.P. School of Fine Arts. In 1949, Manansala received
to the two painters' good health and citing their win as evidence that
a six-month grant by UNESCO to study at the Ecole de Beaux Arts in
Filipinos and Spaniards were equals.
Banff and Montreal, Canada. In 1950, he received a nine-month
scholarship to study at the Ecole de Beaux Arts in Paris by the French
Juan Luna y Novicio (October 23, 1857 — December 7, 1899) was
government.[1]
an Ilocano Filipino painter, sculptor and a political activist of the
Philippine Revolution during the late 19th century. He became one of
Manansala's canvases were described as masterpieces that brought
the first recognized Philippine artists.
the cultures of the barrio and the city together. His Madonna of the
Slums is a portrayal of a mother and child from the countryside who
His winning the gold medal in the 1884 Madrid Exposition of Fine
became urban shanty residents once in the city. In his Jeepneys,
Arts, along with the silver win of fellow Filipino painter Félix
Manansala combined the elements of provincial folk culture with the
Resurrección Hidalgo, prompted a celebration which was a major
congestion issues of the city.[1]
highlight in the memoirs of members of the Propaganda Movement,
with the fellow Ilustrados toasting to the two painters' good health
Manansala developed transparent cubism, wherein the "delicate
and citing their win as evidence that Filipinos and Spaniards were
tones, shapes, and patterns of figure and environment are masterfully
equals.
superimposed". A fine example of Manansala using this "transparent
and translucent" technique is his composition, Kalabaw (Carabao).[1]
Regarded for work done in the manner of the Spanish and French
academies of his time, Luna painted literary and historical scenes,
Vicente Manansala, a National Artist of the Philippines in Visual
some with an underscore of political commentary. His allegorical
Arts, was a direct influence to his fellow Filipino neo-realists:
works were inspired with classical balance, and often showed figures
Malang, Angelito Antonio, Norma Belleza and Baldemor.[1] The
in theatrical poses.
Honolulu Academy of Arts, the Lopez Memorial Museum (Manila),
the Philippine Center (New York City) and the Singapore Art
Fernando Amorsolo y Cueto (May 30, 1892 – April 24, 1972) is
Museum are among the public collections holding work by Vicente
one of the most important artists in the history of painting in the
Manansala.
Philippines.[1] Amorsolo was a portraitist and painter of rural
Philippine landscapes. He is popularly known for his craftsmanship
Carlos V. Francisco (1914-1969)
and mastery in the use of light. Born in Paco, Manila, he earned a
degree from the Liceo de Manila Art School in 1909
In 1973, Carlos “Botong” Francisco was the second Filipino to
receive the title of National Artist in Painting, after Fernando C.
A typical Filipina country woman as portrayed by Amorsolo. This
Amorsolo. Also known as the Poet of Angono, he single-handedly
painting also demonstrates his characteristic backlighting technique.
brought back the art of mural painting in the Philippines and was its
most distinguished painter in his time. He was on the forefront of
Amorsolo is best known for his illuminated landscapes,[4] which
modernist art in the country, and with Victorio C. Edades and Galo
often portrayed traditional Filipino customs, culture, fiestas and
B. Ocampo became part of “The Triumvirate” of modern art. His is
occupations. His pastoral works presented "an imagined sense of
best known for his historical epics, and one of his favorite subjects is
nationhood in counterpoint to American colonial rule" and were
fisherfolk. His images of women came from mythology, history,
important to the formation of Filipino national identity.[1]
legend, customs and contemporary life.
he was educated in the classical tradition and aimed "to achieve his
On November 4, 1914, Francisco was born to Felipe Francisco and
Philippine version of the Greek ideal for the human form."[5] In his
Maria Villaluz in Angono, Rizal. He went to college at the University
paintings of Filipina women, Amorsolo rejected Western ideals of
of the Philippines School of Fine Arts, and before the Second World
beauty in favor of Filipino ideals[6] and was fond of basing the faces
War did illustrations for The Tribune and La Vanguardia. Although
of his subjects on members of his family.[7] He said that the women
he came from the same school of arts as Amorsolo, he veered away
he painted should have
from the style of the traditional artist and developed a modernist
"a rounded face, not of the oval type often presented to us style. Together with Victorio Edades and Fermin Sanchez, he painted
in newspapers and magazine illustrations. The eyes should for the Manila Grand Opera House and the Clover Theater. He and
be exceptionally lively, not the dreamy, sleepy type that Edades started mural-painting, and together they formed the Thirteen
characterizes the Mongolian. The nose should be of the Moderns, a group of modernists, in 1938.
blunt form but firm and strongly marked. ... So the ideal
Filipina beauty should not necessarily be white After the Second World War, he taught at the University of Santo
complexioned, nor of the dark brown color of the typical Tomas School of Fine Arts at the same time that he was doing work
Malayan, but of the clear skin or fresh colored type which in cinema with Manuel Conde. He worked as a scriptwriter for films
we often witness when we met a blushing girl."[6] such as “Genghis Khan,” “Putol na Kampilan,” and “Tatlong
Labuyo.” In addition, he designed costumes for films such as
“Romeo at Julieta,” “Prinsipe Tenoso,” “Ibong Adarna,” “Siete
Infantes de Lara,” and the “Juan Tamad” series.
Francisco further enhanced his art in mural painting as he, together
with Edades and Ocampo, was commissioned to do several murals
for lobbies and private residences. They developed the Filipino
imagery in their work, taking images from the customs and traditions
of the people. Some of the murals they worked on as a triumvirate are
Rising Philippines for the Capitol Theater, murals for the Golden
Gate Exposition, the State Theater, and the private residences of
President Manuel Quezon, Ernesto Rufino and Vicente Rufino.
However, his major masterpiece is the mural he did for the
Bulwagang Katipunan of the Manila City Hall.
After Francisco’s death on March 31, 1969, what came to be known
as the Botong Francisco School of Painting grew, exemplifying
lyricism and heroism.
Mauro Malang Santos ("Malang") is known for his colorful genre
paintings that feature simplified forms. Barrio Fiesta, commissioned
in 1958 by the FGU-Insular Life Building, is among his paintings. He
was born in Santa Cruz, Manila, on January 20, 1928. He started
taking drawing lessons under Teodoro Buenaventura when he was
ten. He developed his reputation first as a cartoonist, then later as a
painter. Together with other well-known artists, he launched "Art for
the Masses" in 1966 in order for art to become accessible to more
consumers through prints at reasonable prices. He is also one of the
1963 TOYM Awardees.
His art has lately become more abstractionist. Still, his works often
portray his signature images of women in traditional dress with fruits
in baskets and bilao. Vivid colors straight from the tube, unmixed,
continue to dominate his canvases. He still continues to experiment in
the use of various media. In January of 2007, he celebrated his 78th
birthday, as he has been doing yearly for some time, with an exhibit
of recent works at the Art Center in SM Megamall.
Malang has four children with wife Mary San Pedro. Two of them,
Steve Santos and Soler Santos, are also painters.
A painter and multimedia artist, Jose T. Joya was named National
Artist in Visual Arts in 2003. Having early traditionalist training, he
eventually steered to a direction of his own. Known as an Abstract
Expressionist, he adopted the values of kinetic energy and
spontaneity in painting, mastering the art of gestured paintings, where
paint is applied spontaneously using broad brush strokes. Aside from
painting, he also designed ceramic vessels, plates and tiles, and
worked with graphic arts like printmaking.
Son of Jose Joya, Jr. and Asuncion Tanig, Joya was born in Manila
on June 3, 1931. He became interested in sketching as early as the
age 11, and wanted at first to take up architecture, but decided not to
pursue it because of the math and science subjects. Under a
scholarship, he entered the University of the Philippines College of
Fine Arts in 1950, where he had traditionalist mentors like Guillermo
Tolentino, Ireneo Miranda, Dominador Castañeda and Virginia
Agbayani. He earned his Bachelor’s Degree in Fine Arts in 1953, the
university’s first magna cum laude. After that, he studied in Madrid
from 1954 to 1955 under a grant from the Spanish government’s
Instituto de Cultura Hispanica. He got his Master’s Degree in
Painting at the Cranbrook Academy of Art in Michigan where he
studied under Zoltan Zepeshy from 1956 to 1957 under a Fulbright-
Smith-Mundt grant. He then received another grant, this time from
the John D. Rockefeller III Fund and Ford Foundation, to study at the
Pratt Graphic Art Center in New York from 1967 to 1969.
He participated in the first Exhibition of Non-Objective Art in Tagala
at the Philippine Art Gallery in 1953, and then held his first one-man
show there in 1954. He was later sent to represent the country at the
Venice Biennial in 1964. In 1981, he held a retrospective of his
works at the Museum of Philippine Art.
Joya was president of the Art Association of the Philippines from
1962 to 1965 and dean of the U.P. College of Fine Arts from 1970 to
1978. In addition, he was chairperson of two delegations to China, in
1961 and 1972, and Amorsolo Professorial Chair at the U.P. in 1985.
He also served as Head of the National Commission for Culture and
the Arts Committee on Visual Arts (NCCA-CVA) from 1987 until
his death in 1995.
Guillermo E. Tolentino was born on 24 July 1890 in Malolos,
Bulacan. His parents were Isidro Tolentino and Balbina Estrella.
Tolentino first learned how to draw while attending intermediate
school in Malolos, under his teacher, H.A. Bordner. He took up his
secondary studies at the Manila High School, then pursued a degree
in fine arts in 1915 at the University of the Philippines.
In 1919, Tolentino went to the United States to pursue further studies,
as he had received a scholarship grant from Bernard Baruch of New
York University's Beaux School of Arts. He graduated from New
York University with honors in 1921.
That same year, Tolentino traveled to Europe to visit the worked
renowned museums and art galleries in London and Paris. He then
went to study in Regge Istituto di Belle Arti in 1922.
It was in Rome that Tolentino had his first solo-artist exhibition. He
also won second prize in an art competition for his composition Apat
na Mangangabayong Apokalipsis (Four Horsemen of the
Apocalypse).
He returned to the Philippines in 1924, and became a professor at the
University of the Philippines' School of Fine Arts in 1926. Later, he
would be appointed as the school's secretary.
In 1932, Tolentino married Paz Raymundo. They had a family of
seven children.
From 1953 to 1955 Tolentino also served as the School of Arts'
director. He retired in 1955 as professor emeritus.
In 1973, Tolentino was named National Artist for Visual Arts for his
works in the field of sculpture. He died in 1976.
Guillermo Tolentino was known as a master in classical sculpture.
He received national recognition for his work on the Bonifacio
Monument, the design for which was chosen in a competition
organized by sculptor Vicente Francisco, and architects Andres Luna
de San Pedro and Tomas Mapua. The call for designs for the
monument was made on 29 August 1930.
Tolentino's winning design featured an obelisk with a bird of freedom
perched atop of it. Around the monument's base stand life-size
figures of members of the Katipunan led by their leader Andres
Bonifacio.
The monument is now a major landmark of Caloocan City. One of
the metro's light rail transit (LRT) stations is located near the
landmark, and is accordingly called “Monumento.”
Tolentino also sculpted the UP Oblation. The statue was
commissioned in 1935 by then University President Rafael Palma. It
was originally located at the UP Manila campus in Ermita, but was
moved to the Diliman campus in celebration of the university's 40th
anniversary.
Tolentino was also the artist who designed the medals for the Ramon
Magsaysay Awards, as well as the seal of the Republic of the
Philippines.
Napoleón Isabelo Veloso-Abueva (born January 26, 1930), more
popularly known as Napoleón Abueva, is a Filipino artist. He is a
sculptor given the distinction as the Philippines' National Artist for
Sculpture. He is also entitled as the "Father of Modern Philippine
Sculpture". He is the only Boholano given the distinction as National
Artist of the Philippines in the field of Visual Arts.[1]
Napoleon Abueva, nicknamed Billy, was born on January 26, 1930 in
Tagbilaran, Bohol to Teodoro Abueva, a Bohol congressman and
Purificacion (Nena) Veloso, president of the Women’s Auxiliary
Service. His father was a friend and contemporary of former
Philippine President Manuel Roxas and Ambassador Narciso Ramos.
He was a member of the Provincial Board, and later became the
Provincial Governor of Bohol. He ended his career as a Congressman
in 1934. Both of Abueva's parents died serving their country.
Abueva has six other brothers and sisters: Teodoro (Teddy), Jr., now
based in New York, USA; Purificacion (Neny -deceased), married to
Atty. Ramon Binamira (dec.) of Tagbilaran City; Jose Abueva
(Pepe), former president of the University of the Philippines; Amelia
Martinez (Inday), now living in Chicago; Teresita (Ching) Floro, now
living in Sydney, Australia; and Antonio (Tony), a landscape artist
who met a tragic fate aboard Princess of the Orient; his body has not
been found.
In 1943, at the height of the Second World War, Napoleon Abueva
became an unwilling victim of the atrocities of the Japanese. With his
father, a leader in the underground movement, and his mother in the
women's Auxiliary group, the family was hunted. His parents were
captured, tortured, and killed in Valencia. Billy was then only 14
years old, but this did not spare him from the brutality of the
invaders. He accompanied his grandmother to Ilaya, Duero where
they were captured by some Japanese soldiers. His grandmother was
later freed, but he was hog-tied, brought to Guindulman, and tortured
for more than a week. He lost his front teeth, and the blue-black
marks on his wrists and ankles took weeks to heal.[1]
As a young boy, Billy studied at the Tagbilaran Elementary School,
and later at University of Southern Philippines, Holy Name College
(now Holy Name University), and Rafael Palma College (now the
University of Bohol) before making it as a sculptor.
A home-grown talent, he was given a break in 1951 when he won the
Pura Villanueva-Kalaw Scholarship. He then took up a Bachelor's
degree in Fine Arts at the University of the Philippines where he
graduated in 1953. This was followed by a Fulbright-Smith Mundt
Scholarship in 1954-55, after which he got a foreign Students
Scholarship at the University of Kansas (1955-56). At the same time,
he won another scholarship at the Instituto de Allende in Mexico City
which he did not avail due to conflict in schedule. It was also in 1955
that he finished his Masters in Fine Arts at the Cranbook Academy of
Arts, U.S.. In 1956, he attended Harvard University for another
scholarship grant.
At U.P, one of his mentors was Guillermo Tolentino, also a national
artist, who created the oblation at the university entrance . Tolentino
later relegated to him the task of replicating the sculpture for the
Campus of U.P. Los Banos.
Abueva has helped shape the local sculpture scene in the Philippines.
Being adept in both academic representational style and modern
abstract, he has utilized almost all kinds of materials from hard wood
(molave, acacia, langka wood, ipil, kamagong, palm wood and
bamboo) to adobe, metal, stainless steel, cement, marble, bronze,
iron, alabaster, coral and brass.
In 1976, he was proclaimed as National Artist of the Philippines for
Visual Arts by then President Ferdinand Marcos. He was the
youngest recipient of the title at age 46.
Some of his major works include Kaganapan (1953), Kiss of Judas
(1955), Thirty Pieces of Silver , The Transfiguration, Eternal Gardens
Memorial Park (1979), UP Gateway (1967), Nine Muses (1994), UP
Faculty Center, Sunburst (1994)-Peninsula Manila Hotel, the bronze
figure of Teodoro M. Kalaw in front of National Library, and murals
in marble at the National Heroes Shrine, Mt. Samat, Bataan. One
masterpiece he dedicates to the Boholanos is the Sandugo or Blood
Compact shrine in Bohol, Tagbilaran City, a landmark at the site of
the first international treaty of friendship between Spaniards and
Filipinos. This is now a tourist attraction in Bohol province. This
shrine is an expression of Abueva's awareness of his roots, and a
manifestation of his artistic talents.
Abueva also performed the death mask procedure of opposition
leader Ninoy Aquino in 1983, as well as that of Fernando Poe, Jr. in
2004. Both masks are now displayed at the Center for Kapampangan
Studies, Hacienda Luisita, Tarlac. Incidentally, he also made a death
mask of Cardinal Sin.[2]
He is married to Cherry Abueva, a psychiatrist, and has three
children, Amihan,Mulawin, and Duero. Before his stroke, he used to
teach at the Industrial Design department of the De La Salle-College
of Saint Benilde School of Design and Arts.[3]
"Thong Song"
This thing right here
Is lettin all the ladies know
What guys talk about
You know
The finer things in life
Hahaha
Check it out
Ooh dat dress so scandalous
And ya know another nigga couldn't handle it
See ya shakin that thang like who's da ish
With a look in ya eye so devilish
Uh
Ya like to dance at all the hip hop spots
And ya cruise to the crews like connect da dots
Not just urban she likes the pop
Cuz she was livin la vida loca
[BRIDGE]
She had dumps like a truck truck truck
Thighs like what what what
Baby move your butt butt butt
Uh
I think to sing it again
She had dumps like a truck truck truck
Thighs like what what what
All night long
Let me see that thong
[CHORUS]
I like it when the beat goes da na da na
Baby make your booty go da na da na
Girl I know you wanna show da na da na
That thong th thong thong thong
I like it when the beat goes da na da na
Baby make your booty go da na da na
Girl I know you wanna show da na da na
That thong th thong thong thong