Artwork title Artist Description

Kiss of Judas - Napoleon Abueva It represents the iconic Biblical image of the betrayal of Jesus
Sculpture
(1955)

Sandugo or Napoleon Abueva Sandugo literally means “one blood.” Said to be a tradition in
Blood Compact the island, the sandugo is solemn pledge that marks the bond
shrine in bohol
of friendship between two tribes. It is binding and must be
– Sculpture
(1565) honored by both parties.

The Nine Napoleon Abueva This reinforced concrete work represents the nine muses of
muses at the art: architecture, dance, film, literature, music, painting,
UP-Faculty photography, sculpture, and theater. The nude muses, spread
center around atop a ring-like pedestal are rendered in various
(1994) stances. Despite strong formal traces of neo-classical
influences, their relaxed poses and generous gestures temper
the usual severity that the tradition is known for.
Tree planting Cesar Legaspi Legaspi's use of zombies as his choice of character shows
(1949) ingenuity and is effective in communicating lifelessness and
suffering as the zombies try to bring back some life into their
world through planting trees
Madonna of Vicente manansala His Madonna of the Slums is a portrayal of a mother and child
the slums from the countryside who became urban shanty residents once
(1950)
in the city. In his Jeepneys, Manansala combined the elements
of provincial folk culture with the congestion issues of the city.

The Parisian Juan Luna It portrayed a scene inside a café in Paris with a woman
life identified as a courtesan or a prostitute representing "fallen
(1892) womanhood", who was about to rise from a sofa
overshadowing three men placed at the far-left corner of the
painting.

Hope in the Fernando Cuerto Hope in the Ruins of Manila features a woman nursing a baby
ruins of manila Amorsolo as she walks through a city destroyed by war, symbolizing that
(1945) the next generation will be around to fix things.

Planting Rice Fernando Cuerto Planting Rice portrayed happy Filipino villagers in their bright
(1921) Amorsolo clothes and straw hats work together. Behind them, releasing a
peaceful plume of steam, rises the beautifully symmetrical
cone of MayonVolcano.
 Bayanihan Fernando Cuerto Depiction of the Filipino custom of helping each other, villagers
(1959) Amorsolo are seen lifting a bahay kubo while a figure wearing a salakot
(straw hat) leads them to the nipa hut's new home.

Man with Fernando Cuerto The farmer's treasured possession; the cockerel is a symbol of
Cockerel Amorsolo hope.
(1938) Glimpse into the quiet more isolated aspects of rural life.
Sitting restfully against chicken coop, the aged farmer gently
holds a chicken.

Fruit gatherer Fernando Cuerto This pursuit visually resonates in this piece depicting a rural
(1950) Amorsolo fruit gatherer with a bilao. Amorsolo portrays a young Filipina
maiden possessing a medium brown complexion that is
reminiscent of the image of Maria Clara. For Amorsolo, the
dalagang bukid is the quintessential Filipina muse.

Resting under Fernando Cuerto Created this artwork to show of the true value of Filipinos.
the mango tree Amorsolo They are hard- working yet happy of what they are doing. It
(1939)
was to also make the world aware about the true Filipina
beauty. highlights the relationship between family, work and
community.

Maiden in a Fernando Cuerto The painting portrays a young woman standing gracefully in a
stream Amorsolo tranquil stream, surrounded by lush greenery and dappled
(1961)
sunlight.

España y Juan Luna España y Filipinas is an allegorical painting, using two female
Filipipnas figures to represent the colonial relationship between Spain
(1886)
and the Philippines. Juan Luna was an accomplished
academic painter, and this painting shows his mastery of 19th
century visual conventions.

The Spolarium Juan Luna Shows the cruelty, injustices, sufferings and helplessness
 (1884) experienced by the gladiators. The scene from the Roman
Empire in which men dragged the bloodied remains of slave
gladiators from the vast and mighty arena into an unknown
darkness, wherein more cruelly dead gladiators are
transported. (Gladiators – Are armed combatants)
Death of Juan Luna The Death of Cleopatra not only served as a representation of
Cleopatra a colonized people standing up against their colonizer, but also
(69-30 BCE)
brought to attention the ability of Filipino artists, and
particularly Luna himself, to surpass their European
contemporaries.
la laguna Félix Resurrección The painting also shows how the evil will always be punished,
estigia Hidalgo. that we need to always act with fear of the possible
(1887)
consequences of our actions.

The bird seller Vicente manansala Highlights the everyday, modern life of a Filipino man
(1976)

Granadean Jose T. Joya It is a horizontal abstract painting which showcases different

Arabesque shades of yellow, and features broad strokes and swipes of
(1958)
impasto mixed with sand.

Venus de Milo Alexandros of Antioch Ancient statue commonly thought to represent Aphrodite the
(1820–150bce) Greek goddess of sexual love, fertility, and beauty. Aphrodite in
Greek culture is identified as Venus by the Romans hence, the
statue is often referred to as Aphrodite de Milos