Republic of Philippines

SORSOGON STATE UNIVERSITY

Sorsogon City Campus
Magsaysay St., Sorsogon City

READINGS IN PHILIPPINE HISTORY:

WORKS OF LUNA AND

AMORSOLO

PREPARED BY GROUP 6:
AIRAN, ERRICHA MAE
VELASCO, ALFREDO RAPHAEL
PAULINO, JOHN RICK VON
FULO, RUSSELL
HABLA, JASPER

(CE – 2C)
 LESSON 6: WORKS OF LUNA AND AMORSOLO
INTRODUCTION
Juan Luna and Fernando Amorsolo are considered as prominent Filipino ar sts in the history of the
Philippines. They have made significant contribu on during the Spanish colonialism as they showcase their
talents to spread awareness on how the Spaniards ruled the Philippines around 1565 to 1898. Juan Luna
artwork and pain ng illustrates literary and historical scenes that carried poli cal commentaries. Luna became
one of the first recognized Philippine ar sts a er winning the gold medal in the 1884 Madrid Exposi on of Fine
Arts, along with the silver win of fellow Filipino painter Felix Hidalgo. Fernando Amorsolo was the first-ever to
be recognized as a Na onal Ar st of the Philippines. Amorsolo’s pain ngs are known for their use of light and
color to depict the beauty of the Philippine countryside and its people. He was also noted for his a en on to
detail, especially in his female portraits.
LEARNING OBJECTIVES:
1. Understand the background of Juan Luna and Fernando Amorsolo.
2. Rela on of their pain ngs to the History of the Philippines.
3. Evaluate the relevance of their works to the present me.

JUAN LUNA’S BACKGROUND

 Juan Luna de San Pedro y Novicio Ancheta

 Born on October 23, 1857 in the Town of Badoc, Ilocos Norte in the Northern Philippines

 The 3rd child of among the seven children of Don Joaquin Luna de San Perdro y Posadas and Dona
Laureana Novicio y Ancheta.

 In 1861, they moved to Manila and he went to Ateneo Municipal de Manila where he obtained his
Bachelor of Arts degree in 1881.

 He enrolled at Escuela Nau ca de Manila. He took drawing lessons under the illustrious pain ng
teacher Lorenzo Guerrero.

 He also enrolled in the Academy of Fine Arts in Manila where he was influenced and taught how to
draw by the Spanish ar st Agus n Saez.

 In 1883, he started pain ng demanded of him by the Ayuntamiento

 He was the 1st recipient of the three gold medals awarded in the exhibi on and he gained recogni on
among the connoisseurs and art cri cs present.

 On June 25, 1884, Filipino and Spanish nobles organized an event celebra ng His win in the exhibi on.

 He moved to Paris in 1885 where he opened his owned studio and befriended Hidalgo.

 In 1887, he once again travelled back to Spain to enter in the year’s Exposi on II of his pieces.

 On December 8, 1886, he married Maria de la Paz Pardo de Tevera. The couple travelled to Venice and
Rome and se led in Paris. They had only had 2 children which are Andres, and Bibi who died in infancy.
  On September 23, 1892, he killed his wife and mother-in-law, and wounded his brother-in-law, Felix.

 On February 8, 1893, he was acqui ed of charges on grounds of temporary sanity, the “unwri en law”
at the me forgave men for killing unfaithful wives.

 Five days later a er he paid the Pardo de Taveras, he went to Madrid with his brother, Antonio Luna
and his son, Andres.

 On September 16, 1896, he and his brother, Antonio Luna were arrested by Spanish authori es for
being involved with the Ka punan Rebel Army.

 On May 27, 1897 and was released from prison and he travelled back to Spain.

 On December 7, 1899, he suffered a heart a ack and died.


FERNANDO AMORSOLO’S BACKGROUND

 Fernando Cuenco Amorsolo

 Born on May 30, 1982, in Paco, Manila to Pedro Amorsolo and Bonifacia Cueto.
 Spend his early years in Daet, Camarines Norte.
 Salud Tolen no and Maria del Carmen
 Fernando showed early signs of his ar s c talent. He would go out to the coast to draw pictures of the ships by
the wharves. It was his mother who recognized the young Amorsolo’s talent. She would send her son’s drawings
to her cousin Fabian dela Rosa, a prominent painter in Manila. At this early age, Amorsolo displayed an affinity
for the rural landscape --- a reflec on of his own small world.
 Fernando encountered a tragedy where his half-brother Perico joined the revolu onary movement against the
will of his father.
 His father suffered heart a ack that caused his death.
 They moved to manila where his Uncle Don Fabian opened his doors to the family.
 Fernando finally earned his degree, with honors, as a member of the first gradua ng class of the University of
the Philippines School of Fine Arts.
 In 1972, Fernando Amorsolo became the first Filipino to be dis nguished as the Philippines’s Na onal Ar st in
Pain ng. He was Named as the “Grand Old Man of Philippine Art.
 He died on April 24, 1972, at the age of 79.

HISTORICAL BACKGROUND OF THE DOCUMENT

Since they both contribute significant artwork. These are their most known artworks in the history:
Luna’s Works

 Spolarium (1884) - depicts dying gladiators in a despoiling scene in a Roman circus where dead
gladiators are stripped of weapons and garments.
 La Muerte De Cleopatra (1881) - depic ng the death of Cleopatra, the last ac ve ruler of Ancient
Egypt, the pain ng was painted during Luna's stay in Rome.
 The Ba le of Lepanto (1888) - the pain ng features Don Juan of Austria (also known as Don John of
Austria) in ba le while at the bow of a ship.
  El Pacto De Sangre (1886) – “Blood Compact”, It depicts the 1565 Sandugo (blood compact ritual)
between Datu Sikatuna of Bohol and Miguel López de Legazpi, surrounded by other conquistadors.
The pain ng portrays Sikatuna being crowded out of the picture by Legazpi and his fellow
conquistadors.
 The Parisian Life (1888) - depicts three of the Philippines’ beloved heroic figures: Luna himself, Jose
Rizal, and Ariston Bau sta Lin, dressed in European garb and engaged in a conversa on in a cafe in
Paris. A Parisian woman, along with a deserted cape and hat on a nearly empty sofa, graces its
foreground.
 The Portrait of the Lady (1890) - Juan Luna’s “Portrait of a Lady” is a famous pain ng that depicts
his wife, Paz Pardo de Tavera, in bed holding a rosary and a prayer book. The pain ng is believed to
have been created in 1885 and is now housed in the Na onal Museum of the Philippines. The
pain ng has an interes ng history and is said to be cursed. It is believed that those who have
owned it over the years have met terrible misfortunes, from unexplained sickness to bad business
to downright death.
 España y Filipinas (1884) - It is an allegorical depic on of two women together, one a
representa on of Spain and the other of the Philippines. The Spaniard woman “Motherland" was
drawn with “wide strong shoulders” while the Filipino woman was illustrated as “graceful” and
brown-skinned. Both were wearing female dresses known as traje de mes za or “dress of the
mes za”. The dressing of the women in traje de mes zas shows the cultural character, class
consciousness, and social transforma ons resul ng from 19th century Hispaniza on. Both women
have their backs to the viewer, heading towards a far-away horizon, while embarking on the steps
of a staircase. Side by side in the pain ng, Spain was shown to be leading the Philippines along the
path to progress and development. The taller and maternal white figure of a woman is Spain, a
representa on of the “benevolent image of colonialism”, is poin ng ahead and guiding the “humbly
dressed” Filipina to the “right way”.

Amorsolo’s Works

 Leyendo El Periodica (1908) - bagged the second place in an art pain ng contest dubbed as “Bazar
Escolta”. This was an art compe on, organized by the Associa on Internacional de Ar stas. To
hone his pain ng skills with perfec on, Fernando Amorsolo decided to enroll at the Art School of
Liceo, Manila. Conversely, Amorsolo had proven that poverty is not a hindrance to being an
achiever. In the said learning ins tu on, he was bestowed the highest honors for art excellence, for
his enigma c pain ngs and drawings respec vely.
 A ernoon Meal of Riceworks (1939) - The painting shows a group of Filipino farmers having their
lunch in a rice field. The painting is known for its vibrant colors and the way it captures the essence
of rural life in the Philippines.
 Dalagang Bukid (1953) - one of Fernando Amorsolo’s best-known pain ngs. The pain ng, or rather
its subject, was Amorsolo’s a empt to depict Filipina beauty as opposed to the typical Maria Clara
image commonly associated with local women.
 The First Bap sm in the Philippines (1949 ) - It depicts the conversion of Filipinos to Chris anity by
Magellan’s expedi on. The pain ng was commissioned by the Cebu High School and is currently
part of the Insular Life - FGU Collec on. According to Antonio Pigafe a, the chronicler of the
Magellan expedi on, the first bap sm in the country was performed by Fr. Pedro Valderama, the
 chaplain of the expedi on, on April 14, 1521. At least 800 na ves, including Cebu chie ain Rajah
Humabon and his wife Hara Humamay, were bap zed that day.
 Under the Mango Tree (1935) - depicts an in mate scene away from the work of harves ng in the
field. A brief reprieve from the heat and ac vity of the day, Amorsolo captures a warm scene that
highlights the rela onship between family, work and community.
 The making of the Philippine Flag (1944) - The pain ng depicts the crea on of the Philippine
na onal flag, which served as a symbol of na onal iden ty and unity following centuries of foreign
domina on. The artwork captures the spirit of Filipino na onalism, a powerful reminder of the
country’s hard-fought independence.
 Bombing of the Intendencia (1942) - depicts the Intendencia in Intramuros (located at the south
bank of the Pasig River) as it is consumed by flames. The Intendencia housed the mint, customs
offices, and finance bureaus. It was one of the first buildings to be destroyed when Japanese bombs
were dropped on Manila in December 1941. The building again suffered major damage from
American ar llery in 1945.
 The Rape of Manila - is a pain ng that depicts the destruc on of Manila during World War II. The
pain ng shows a group of women being raped by Japanese soldiers in the ruins of the city. The
pain ng is considered one of Amorsolo’s most controversial works, as it depicts a violent and
trauma c event in Philippine history.
 Burning of Santo Domingo (1942) - The pain ng depicts the magnitude and intensity of the fire
through Amorsolo’s trademark applica on of hues, texture, and perspec ve, as well as the
concerted effort of the firemen and the Dominican clergy to save the sanctuary.
 Rizal Avenue in Ruins - depicts the destruc on caused by the Japanese occupa on of Manila during
World War II.
 Defense of a Filipino Woman’s Honor (1945) - depicts a Filipino man defending a young woman,
who is either his wife or daughter, from being raped by an unseen Japanese soldier. The pain ng
was created in 1945 during World War II.
 Burning of Manila (1946) - depicts the tragedy and horror of the Ba le of Manila during the
Japanese era.
CONTENT PRESENTATION & ANALYSIS OF THE IMPORTANT HISTORICAL DOCUMENT
Luna and Amorsolo are classified as the greatest painters in the Philippine History. Luna is a poli cal
revolu onist during the Spanish coloniza on where he is a member of “Ilustrados”, a Philippine
Revolu on in the 19th century along with his brother. His artwork shows literary and historical scenes
that carried poli cal commentaries. His pain ngs convey a message for the Filipinos and for the youths
that spreads awareness to show the state of the Indio in the Philippines during Spanish Coloniza on. It
shows their perspec ve on how the Spaniards treat us the Filipinos as they share same goals of Rizal to
awaken the Filipino’s na onalism. Amorsolo is the first na onal ar st in the Philippines as he shows the
portraits and landscapes that depict the beauty of tradi onal Filipino in his artworks and beau ful rural
scenes. His portraits are not just the physical beauty if his subject but also signifies the na onal iden ty
of the Filipinos. The artworks of Amorsolo were created during the American and Japanese coloniza on
as it depicts the ruins of World War II. It also shows the views of Filipinos during this century. Therefore,
both of their pain ng depicts the life of Filipinos during the coloniza on of Spanish, American, and
Japanese which serves as an inspira on for the na onalism.
CONTRIBUTION AND RELEVANCE OF THE DOCUMENT IN UNDERSTANDING THE GRAND NARRATIVE OF
PHILIPPINE HISTORY
Luna and Amorsolo are both prominent Filipino Ar sts in the Philippines which they deliver their pain ngs as
a message for the Filipinos. The art of Luna expresses the socio – cultural and poli cal ideas based on his works.
His works were displayed in several museums, including the Na onal Museum and the Lopez Museum and most
of all is the greatest important contribu on to Philippine history was the Spolarium that is located in the Na onal
Museum of Fine Arts. The pain ng depicts the Filipino people's plight as a result of Spanish oppression. It is a
clear representa on of the open fight between reason and idealism, which also included cases of injus ce,
extremism, and prejudice. Another pain ng that shows the colonial rela onship between Spain and the
Philippines is Espana y Filipinas. This pain ng depicts his desires for reform, equality, moderniza on, and
economic improvement in the Philippines through the guidance-not the control- of the Spaniards. He also
depicted the beauty of Filipino women in his pain ngs like La Bulaqueña and Tampuhan. However, Amorsolo
depicts the tradi onal Filipino customs, culture, fiestas, and everyday voca ons like rice farming and mango
picking that are mostly painted in landscapes. In his nude sketches and the Lavanderas and Women by the
Stream, he also emphasized the beauty of a Filipina, emphasizing simple yet appealing faces and well-shaped
bodies. Similar to his other pain ngs The Burning of Manila and Defense of a Filipina Woman's Honor, he
depicted human suffering, hopelessness, anguish, and tragedy throughout the war. Therefore, both of them have
different genre of their pain ngs but they only share same goals which is to show the life of Filipinos during
colonialism with their artworks. Juan Luna discusses his socio-cultural and poli cal ideals, as well as his goals. In
the picture Spolarium, he illustrates the Filipinos' plight under the Spaniards. He describes how the conquerors
oppressed and mistreated Filipinos. Although Fernando Amorsolo's pain ngs are influenced by rural life, they
represent a simple and contented living in which happiness may be fostered even in the most basic of
circumstances. Juan Luna's and Fernando Amorsolo’s pain ngs, as well as their love for the motherland and its
people, helped them to become emblems of the Filipino people's glory.
LEARNING EXPERIENCE
To conclude this topic, Luna and Amorsolo express both of their pain ng to show that Philippines needs the
freedom from the coloniza on of different country. They want to have the Philippines as a free na on for making
a mo va on of Na onalism. The Philippines suffered greatly from the three countries, and these pain ngs
serves as a visual and emo onal reminder of the harsh reali es of coloniza on and need for resistance. The
ar sts capture the horrors, struggles, and resilience of the Filipino people. Juan Luna was able to show the world
that Filipinos deserved respect for their ability, equal treatment with foreigners in terms of ap tude, and not
being referred to as "indios" as the Spanish colonizers did. The works of Amorsolo were testaments to the purity
and calm of rural areas where happiness and love may be developed even by live a simple life, as well as
reflec ons of the toil of the Filipino obreros. Despite hailing from different periods in the country's history, Juan
Luna and Fernando Amorsolo became emblems of Filipino excellence. This was owing to their ar s c ability as
well as their love for the na on and its people, which was visible in their works. Their works are for the Filipinos
especially for the youths which we believe the hope for our country as the me passes by. They use art as a
message for us to liberate Filipino na onality from ignorance and blindness just like the poli cal cartoons.