Francisco, Anna Fides M.

July 22, 2015

El Asesinato del Gobernador Bustamente y Su Hijo

Located in the central hall of the National Art Gallery, opposite the infamous Spoliarium by Juan Luna, is
Felix Resurreccion Hidalgo’s El Asesinato del Gobernador Bustamente y Su Hijo (The Assassination of
Governor Bustamante and His Son), a depiction of the conflict between the Church and State. This
artwork, which used oil as a medium, is made just about from the 19th to the 20th century in Barcelona,
Spain, and measures 338cm by 412 cm; most probably the largest existing work of the painter yet the
most undistinguished one (Ocampo, 2009). It is also deemed a controversial work primarily because it
was put away until its first exhibition in 1974 and once again stored until 1989 as it was lent to the
Metropolitan Museum by National Artist Leandro Locsin (Ocampo 2010). Moreover, some accounts hold
the original title of this piece was La Iglesia contra el estado (The Church against the State) however,
Hidalgo changed his mind (Ocampo, 2009).

Based on a specific historical event during the Spanish colonization, it is a dramatic portrayal of the
murder of Governor General Fernando Bustamante by besieging friars in black cloaks and white habits. It
was supposed that this skirmish is a consequence of the incarceration of Archbishop Francisco de la
Cuesta who was one of the many personalities involved in corruption in the Galleon Trade. The
archbishop excommunicated him in response and prompted a rallying mob shouting “Long Live the
Church! Long Live King Felipe V!” Bustamante, aware of the commotion, ordered to fire at them but
guards poorly complied with the command. Hence, the mob swarmed the palace. The governor general
was weak and defenseless in a red coat despite holding a sword. With a saber over his head he is being
pulled down by five friars with a rope tired around his breast. The young Bustamante learning of the
assault went in defense but also ended up killed in the incident (Martinez, 2008; Cruz, 2013; Ocampo,
2009).

The painting focused its central character by following a radial plan, as deduced from the gazes of
individuals surrounding him.
Diagonal lines are observed from the spears and the direction from which the rope is being pulled, which
reinforces the feeling of uncertainty and instability leading to an eventual collapse. On the other hand, this
was countered and balanced out by different elements (horizontal planes of the stairway, columns of the
railing, five vertical poles bearing religious images and symbols held by friars and one acolyte and the
window) which all provided stability in this chaotic scene.

The quality of objects is enhanced through lines. Blades look finely sharped and contours in their
clothing, especially the friars, suggest a seemingly flowy and soft texture – a stark contrast with the hard
yet smooth surface of the stairs. Furthermore, these lines also portray movement as illustrated in this
mentioned attribute.

Hidalgo played as well with chiaroscuro in this work as one can see dark shades in the upper (right)
portion of the painting which contradicts the foreground which occupies approximately 75 percent of the
painting. Utilizing shadows and color enabled to define and enhance the volume and form of the stairs,
the men and even the spears (at least for spears located at the lower left side).

Such features is very apparent in the foreground for it uses an atmospheric perspective where color,
contrast (light) and details are die down as one looks further away. This produces an illusion of distance
which is similarly created by receding figures. In addition to that, space is employed to emphasize
Bustamante and the struggle of the friars in pulling the rope.

Unity in variety in this painting is achieved through putting the gazes of some men away from
Bustamante despite the radial plan as well as in the cited components like lines, light, color and texture;
no matter how much they offset one another, such properties come together and gives a harmonious
experience for the viewer.

In the original narrative of this incident, the mob comprised of “peoples of all classes” (Martinez, 2008).
According to Ocampo, “when Antonio Ma. Regidor commissioned Hidalgo to paint this scene from
Philippine history, the mob became a pack of friars” (2009). Exposing this narrative in this manner,
Hidalgo had instilled a message of awakening in “how clergymen commit decidedly unholy activities to
self-preserve” (Cruz, 2013). With an affective symbolism in the realist context, the painting had been
effective in stirring a nationalistic fervor in a tale that remains to be relevant until today in the field of
Philippine politics.
References

Cruz, E. (2013, October 21). Hidalgo and Amorsolo: masterpieces with a view. Retrieved from The
Manila Bulletin: http://www.mb.com.ph/hidalgo-and-amorsolo-masterpieces-with-a-view/
Martinez, G. (2008, February 25). Assassination of General Bustamante. Retrieved from Traveler on
Foot: https://traveleronfoot.wordpress.com/2008/02/25/assassination-of-general-bustamante/
Ocampo, A. (2009, February 6). Interplay of myth and history . Retrieved from Inquirer Opinion:
http://opinion.inquirer.net/inquireropinion/columns/view/20090206-187679/Interplay-of-myth-
and-history
Ocampo, A. (2010, October 15). Murder in 1719. Retrieved from Inquirer Opinion:
http://opinion.inquirer.net/inquireropinion/columns/view/20101015-297804/Murder-in-1719

Appendix

El Asesinato del Gobernador