Painting Analysis

Going through these painters' profile background, I discovered that they were all

awarded as National Artists. A National Artist has made significant contributions to the

development of arts such as music, dance, theatre, visual arts, etc. This analysis will

tackle all the superficial and in-depth meaning of the arts assigned. This will also delve

deeper into why they were considered a National Artist, based on my understanding

and perspective.
 Angry Man

(1982; oil on canvas)

As I saw Picasso/s Friendship piece, I thought that Ang Kiukok's Angry Man used

the cubic style because it has the same elements. As I scroll through his works, I saw

some paintings with the same image of a figure showing an expression of agony and

anger while forming a mouth shaped like 'screaming' such as Man in Fire and Scream.

This section will decipher the meaning of Ang Kiukok's remarkable piece, Angry Man

using Ingram's (2019) SPARK Model.

See and Perceive. Looking closely, I saw how Ang came up with this

masterpiece, using art elements and principles. It was like depicting a combination of a

strong expression of lamentation, anger, and exhaustion. To add up, the finger raised

by the figure intensified and gave justice to my thoughts toward the painting. My eyes

wandered around this work of Ang, and I noticed his skeleton-like body structure, skin-

hugging the bones, and wood-textured skin while creating sharp edges.

On the other hand, his left hand leaning at the back does not create a real hand;

it creates a bone shape. His face has mirrored the expression of screaming with his

eyes widely opened and a finger raised, intensifying the anger I see from the figure.

Moreover, raising a finger, the middle to be exact, is defined as a vulgar gesture that

shows anger directed towards someone or something. Also, people will immediately

notice the hole in his stomach down to his genitals. The painter successfully created an

image of a body illuminated with light contrasting to the shadows and dark background
it has formed. Moreover, the painting's spaces are like that of a cropped photo, not

showing the man's whole figure to emphasize his image. In contrast, the dark

background represents his state of mind, darkness and unbearable. The lines and

shapes in the painting were used effectively to show his body's "bony" structure.

As I look intently, many situations, socio-historical events, or symbolism crossed

my mind. First, I view the raised-finger of the figure and screaming face as a sign of

extreme anger. Secondly, the hole in the stomach of the without the genitals stirred so

many thoughts in me. I thought of human trafficking cases back then. An article,

Human Trafficking, Exposing the Brutal Organ Trade , mentioned that in the early

1980s, global trade of selling kidneys from living persons emerged in the Middle East,

Latin America, and Asia. A study published in The Lancet in 1990 demonstrated the

traveling and trading of kidneys then transplanting them through private doctors they

bring along. They pay the sellers between $2000- $3000. Toy (2019) stated in his blog

10 Facts about Human Trafficking in the Philippines ; children are the most vulnerable in

this type of crime. Toy added, an estimated 60,000 to 100,000 cases in the Philippines

for child trafficking were reported (2019). Another thought that came to mind is poverty

and hunger during the time Ang painted Angry Man. During the Marcos regime, years

1965-1986, according to Mendoza (2016) this in his article Ferdinand Marcos' economic

disaster, Philippine poverty increased from 41% to 59%. With this fact, I viewed the

hole in the Angry Man's stomach as the empty stomachs of those people amid hunger

and poverty. They were as if expressing their protest about the opportunity and right

deprived of them.
 Ask, Reflect, and Know. Angry Man reminded me of Pinocchio wooden doll. It

has the same wooden texture and looks. Ang Kiukok, the artist who made this

remarkable piece, was famous for rendering violent imagery and creating the style of

figurative impressionism (Tobin Reese Fine Art, N/A). At first, I honestly thought Ang

Kiukok is a screen name for the artist, but it turned out to be his real name, which

means "save the country." According to Tobin Reese Fine Art's blog with a title Ang

Kiukok (1931-2005), his works often reflects how he views his surroundings. Wherein

his work to be analyzed, Angry Man, made during the Marcos regime, shows people's

political disagreement toward the current government at that time. To add, Tobin

Reese Fine Arts (N/A) also stated, Ang never expressed his rancor towards the

government, but people perceived his works as his opposition to the government

system way back. Ang's work continued to have robot-like features, which many people

have not appreciated. Tobin Reese Fine Arts (N/A) pointed out that Ang ignored other

people's criticism and continued painting his style.

Art is a platform where one can express his thoughts, ideas, and emotions freely.

Truly, Ang Kiukok has made an extremely remarkable piece that justifies the painter's

feelings and the audience. As one looks at the painting, the art will awaken thousands

of emotions and sympathy for those who struggle until they reach the point of bursting

out of anger.
 Camote Diggers

(oil on canvas; 10.6 x 15 in; 1969)

In the year 1965, the reign of Ferdinand Marcos in the Philippines started; many

have struggled. According to Mendoza (2016), in his article "Ferdinand Marcos'

economic disaster," Philippine poverty increased from 41% to 59%. In Carlos "Botong"

Francisco made his remarkable piece, the Camote Diggers in 1969, a Marcos regime. As

I have encountered Carlos Francisco in a previous lecture, I already have background

knowledge about him. A documentary titled I -Witness: 'Angono' documentary ni Sara

Aguinaldo | Full Episode shared Francisco's biography. According to this documentary,

the artist was an outdoor person, and he joined Rover Scout in his early years. It is

where he got his inspirations; he liked outdoor drawings and sketches. He didn't follow

the traditional style; instead, he developed a modernist style (Noypicollections, 2011).

Most of his works mirror the lives of his fellow compatriot. Some are Serenade,

Bayanihan, Bayanihan sa Bukid, Fiesta, Filipino Struggles through History, and Camote

Diggers.

Camote Diggers was painted in 1968, before his unexpected death, in which,

according to Nakpil (2018), was an unfinished work. It was still indeed a remarkable

and powerful work despite being unfinished. Even though it was an unfinished work,

the audience could still clearly see what Francisco is trying to imply: our fellow

countrymen's current situation amid the darkest side of the world: poverty. Mark Winne

said, "We cannot end hunger unless we end poverty." If we relate this painting to the

world's current situation, we could see its depiction of people amidst the pandemic. In
the first few months of Enhanced Community Quarantine (ECQ), news about people

stealing goods in a convenience store so that they could feed their family spread. I

think this will represent the current situation if Francisco made the painting in the

current year. People digging camote is equivalent to people stealing food amidst the

pandemic, both managing their ways to survive—an exact representation of addressing

the main subject: Hunger and Poverty.

This work of Francisco reminded me of Van Gogh's Potato Eaters. Gogh's art

piece has had an image of peasants, situated in a dark room, with that of a hand of a

laborious man and face traced by stress. Francisco's Camote Diggers were said to be a

homage to this work of Van Gogh (Ocampo, 2019). She also added, potato is one of the

many crop immigrants introduced in the Philippines from Mexico in the 16th century.

Although in historical context, sweet potato or camote, a variant of potato, symbolizes

peace and can resolve any problem, Ormaniode said. Also, in intertribal war, sweet

potatoes are always used to bring peace to warring tribes. Planting sweet potato in the

middle of war signifies peace, they added.

In contrast, it symbolizes the opposite here in the Philippines. I have watched a

documentary I-Witness: 'Minsan sa Isang Taon' dokumentaryo ni Kara David (full

episode), showed how sweet potato served as survival food for the community. Sitio

Banli, is a community situated in the mountains far from civilization, is the primary

source of an ingredient, the abaca, in producing money. Despite this, they are still

considered the most impoverished community in the province of Saranggani, Mindanao.

The community's poverty is evident through its primary food: camote. According to a
Tusan Tango, someone who harvests abaca, they could only eat a proper meal (rice

and meat) once a year, the season of harvesting the abaca. Kids in this community

suffer from Kwashiorkor's condition, malnutrition due to the insufficient amount of

protein the body should get. According to David (2017), it results from incessantly

eating camote; they eat this root crop from breakfast, lunch, and dinner. Since the

abaca plant is seasonal, they only earn money once a year, leading them to eat the

only crop they have, sweet potato and cassava.

Camote Diggers depicts an image of an aged-skinny woman with gray hair.

Alongside the woman is probably her son—same body structure and both digging for

the root crop. The way the man held the camote is like how someone has a very

delicate or fragile glass. Or like how a mother holds her child with so much adoration.

Nevertheless, the painting showed the harsh reality of life. Also, the way the woman

and man bowed their head while digging stirred so much emotion in me. It helped

create the dramatic mood of the work. It was a depiction of the tiredness towards the

struggle they are going through. And at some point, I perceived it as if she was holding

the Philippine flag, the stick as the pole, and the background (blue and red) as the flag

itself. She was like conveying a message, "The Philippines has let me down," in which

the current year Francisco painted The Camote Diggers, the poverty rate increased. We

could see both bodies' bony structure, from the collarbone to their hand down to their

toes, through the value of light and dark. The lines defined the protruding bones, the

stick, the line separating the hill and horizon, and the shapes that defined the holes in

their clothes. This observation reminded me of how Francisco got acquainted with
Manuel Conde, where he worked as a production designer in 1946. He applied his

knowledge and experience in planning the costume designs and scripts of the set to his

works and created an attire for the two persons that will easily touch his audience's

heart.

Also, the color red's intensified vibrance was like a representation of their

hardships in surviving, or how it feels like living in the darkest side of poverty. It was

like a wave of screaming anger from Francisco, which depicts the statement, "Why do

people have to suffer like this? As if it is costly to afford a decent meal." Moreover, I

noticed the value of the lightness and darkness as I stare into this remarkable work of

Francisco. I saw the "spotlight" focused on the woman and her son. It is forming

shadows in the part that does not illuminate light. Overall, the way the elements

mentioned above and principles used effectively created the painting's mood and

message.

Nakpil (2019) stated in her article, Botong Francisco's Camote Diggers to go to a

national institution when Francisco died, his widow gave the painting to the Marcoses.

Still, it was put into auction in Leon Gallery's Spectacular Mid-Year Auction when it was

sold to a consignor 15 years ago after EDSA People Power Revolution). Camote Diggers

fetched a Php 23.4 million Nakpil (2019) added. Moreover, the buyer generously

donated the painting to an institution. Also, I liked how Botong Franciso made the

painting. It clearly shows what struggles of less-fortunate people go through to survive

hunger. My heart sunk as I look at it, and the image of struggling people to alleviate

their hunger crossed my mind. Farmers plant crops, but they are the ones who have
nothing to eat, and the people of Sitio Banli who harvest abaca for production of money

but do not have money to afford decent food. Francisco's Camote Diggers depict the

sad and miserable state of our fellow compatriots, then and now. And it will forever

leave a mark in my mind.

 Gadgets

(1949; oil on canvas)

"Ni minsan, sa mahigit tatlong libo mong ipininta, hindi mo ako naipinta!" These

lines are according to how Cesar Legaspi's daughter narrated the story of his father on

a television program, MMK Recap: Portrait (Cesar's life story). Almost all of Legaspi's

works talk about city dwellers and beggars' struggles, even laborers (De Lara, 2019).

Cesar Legaspi was coined as the "Neo-Realist" of the country. Looking at his works,

most of them used the style of realism, cubism, or geometric fragmentation. His

paintings during the time of World War II revolved around his reactions toward the

situation. He graduated from fine arts at the University of the Philippines (De Lara,

2019) and then studied abroad to be specific in Paris and Madrid. He spent many years

advertising agencies as an illustrator and artistic director (De Lara, 2019). He mostly

used expressive colors to convey strong feelings, such as red and green. Celeste

Legaspi stated in an episode of MMK Recap: Portrait (Cesar's life story), Cesar Legaspi,

her father was colorblind, but her mother became his light to pursue his passion. Cesar

painted his wife later on, but she did not recognize herself.

Elpidio Quirino was the Philippines' current president when Legaspi made

Gadgets; it was 1949. The painter has produced two versions of Gadgets: 1 and 2. In

Elpidio's regime, the Philippines was under rehabilitation after World War II through the
United States' aiding program. The strenuous workforce was very in demand during

that time. From the painting, we can see the masculine or well-built body of the

workers who continuously work while maneuvering the machines. The harsh lines on

their face embody tiredness, and the lines that trace their body forms the shadow of a

callous and strained in work—a body of an exhausted and strained man. Legaspi's

works used the color of green and red. The vibrance of the color red screams pain or

was like a fire, which reminded me of a scene in the movie Titanic. A set at exactly

28:50 minutes showed how people worked in the Engine room and how they operated

the machines to make the ship run. However, laborers in the lower deck illuminate the

reflection of flaming fire, which makes the machines function. The men in this

remarkable piece of Legaspi resembles the laborers in the movie Titanic. The men's skin

complemented the red machines. The color had the same vibrance as the film had.

Also, one issue that recently arose was the use of Congo children for labor. This

issue emerged in the later years of the 21st century, and just recently, it appeared

again on several Social Networking Sites (SNS). According to Amnesty International and

Afrewatch, 50% and up of the world's cobalt comes from the Democratic World of

Congo. UNICEF estimated 40,000 boys and girls work as miners instead of being in

school. They mine cobalt to power the batteries or our phones and other electronic

devices. Also, CBS News' investigation found out that the Democratic Republic of Congo

uses child labor to mine cobalt and supplies all big companies like Apple, Samsung,

Tesla, and Microsoft (CBS News, 2018).

 On another angle, this painting depicts the colliding relationship between man

and machine. If we relate this to today's generation, technology is very rampant,

continuously developing, and the lives of humans. Our life now revolves around these

small machines. Especially now that we are in the new normal, classes are done online,

making these tiny machines necessary. From machines used in industrialization, it

evolved into these small technological devices. I somehow thought the way these men

held in the machines' maneuver reflect our engagement and reliance on our gadgets

today. I can still recall how my Araling Panlipunan teacher mentioned that in years,

there would be a possibility that humans will become a robot because of the constant

development or evolution of technology. We rely too much on it, as well as on the

internet.

Impacts of the world's development will depend on how a person digests it and

views the world around him. If we look around us, we can see that everyone is very

engaged in their electronic devices. When you ride public transportation, you'll notice

almost all passengers have their attention on their gadgets. When you look at a family

eating in a restaurant, you will see kids or even adults engaged on their mobile devices.

Or before eating a meal, people will most likely capture a photo first before eating or

even thanking for the food. And I am one of those many who do these, “But first,

lemme take a selfie!” “Ig is life! Foodfie!” You see, as our world develops, our minds

also get poisoned by these developments. Everything is made convenient for everyone

that we become too lazy to strive hard in achieving things.

 Madonna of the Slums

(1950; oil on canvas; 86.5 cm x 61 cm)

Ingram’s SPARK Model (2019) will help delve into the exceptional work of

Vicente Manansala, Madonna of the Slums.

See. Looking intently at the painting, I noticed the dark and neutral colors used.

The colors are not vibrant; they are pale, creating a gloomy mood. On the other hand,

the proportion of the slum houses at the back creates an angled view. Madonna's facial

expression, her eyes to be specific, is like a puzzle for the viewers to solve. It creates

confusion between art and the audience. You can't exactly tell if it is an expression of

confusion, madness, or sadness; she also manifests a creased forehead. Madonna's

clothing, a sleeveless shirt, is the typical wardrobe of women in slum areas' film depicts.

The strap is hanging loosely on the shoulder, having almost the same color as her skin.

There is also a white lampin or towel depending on her arms. The value of lightness

and darkness helped create the mood. It is not like the other paintings that had a

"spotlight" focused on the subject. The child Madonna is holding does not have any

clothes on - which the thought of a typical family in the line of poverty crosses our

mind. The child also has a body thinner than the usual body of kids his age. Although
the absence of light is evident, both subjects appear to be elevated from their

background, making them stand out from the rest of the elements.

Perceive. When asked how I feel when looking at this masterpiece, the first thing

that came to mind is sympathy. The expression pasted on Madonna's face was like a

screaming voice of a struggling woman, not only for Madonna but also for every woman

who suffers from the same situation, poverty. Despite the Philippines recovering from

the post-war period, during Quirino's regime, our fellow compatriots' position in the

poverty line remains the same. The usage of pale colors formulated a disturbing mood.

It awakens and stirred so many thoughts and emotions in me. To think of all women

who suffer from the same situation lead me to sympathize with these deprived women.

The proper selection of clothes, background, lightness, darkness, facial expressions,

brush strokes, and all other props in this painting are successfully used by the artist,

making the viewers delve deeper into their thoughts and emotions. When one sees this

beautiful and powerful art, it will linger on their mind for days, like how it was for me.

Ask and answer. Poverty is a primary societal issue in the Philippines since then.

Despite all the economic improvements the Philippines' past governments did, the

causes of poverty are still evident. And as I navigate the web, it revealed that

Manansala's work was an exact representation of poverty in the post-war Manila era.

The results of Manansala has always been bringing social awareness to the minds of

Filipinos. During the time Manansala created Madonna of the Slums, the Philippines is

undergoing a rehabilitation program with support coming from the US government.

During this governance, People's Housing Homesite Corp. made a mass housing
program for low- and middle-income earners, so why did Manansala develop work like

this? Presumably, not everyone received help from the project. In the same manner,

Manansala created another work, Tres Marias (1972), which reflects an image of three

women, each carrying a naked child on their arms with a basket of fruits on top of their

head.

Reflect. Kiki Smith once said, "Art is a reflection of everything that impacts your

life." And I must say, it is something that resulted from Manansala's environment back

then. And as I delve deeper into this masterpiece, I remembered a scenario I

encountered years ago. One time, riding the jeepney to Divisoria, I saw a naked little

boy on the street. Dirt covering his body, runny nose, thin body with a bloated

stomach, no slippers while looking around him. The Manila mayor has not rehabilitated

Divisoria yet that time, and it was a holiday, with shoppers flocking. I thought to

myself, "grabe itong dinaranas ng batang ito." We can see how poverty imposes a

significant impact on how a child grows up. I can relate this situation to Manansala's

Madonna of the slums. The child in the painting was like that child I saw at Divisoria;

thin naked body, same condition, but the only difference is that Madonna holds her

child deeply, not minding her appearance.

Know. Who is the artist behind this remarkable piece? Vicente Manansala once

experienced not selling one of his works at his solo exhibit in Manila Hotel. He swore

that people would fall in line to buy his works (Leon Gallery, 2020). People knew

Manansala for using cubism in his works. Even though it came from Western culture, he

could adopt it in his works and convey the message he wants to deliver using Filipinos
as his subject. Looking at Manansala's masterpiece, I proved how compassionate he

was to his nation and countrymen. He often did works that depict a mother and child.

De Lara (2019) said Manansala used his art to tell stories of Philippine life and culture.

He transitioned into the struggles on city life from country people, and of them is

Madonna of the Slums.

The Builders

(1928; oil on canvas; 48 in x 125 in)

"Do not be afraid to change your style because as you change your outlook in

life, your style will also change." – Victorio Edades.

"Women are always the subject when it comes to nude painting. Only a few

made male as the nude subject. One of them is Victorio Edades. He was coined as the

Father of Philippine Modern Painting. He led the "Thirteen Moderns" when the Atelier of

Modern Art in Malate, Manila, was established in 1938 (Najeal, 2019). When he

introduced his works with heavy brush strokes and dark-colored scenes, no one

appreciated it. People were stuck with Amorsolo's art style (Galeria de Rojo). The

movement that Edades introduced paved the way for a representation of the harsh

realities of life; it defied the beauty of formerly introduced painting styles. After

studying and staying in the United States for nine years, he went back to the Philippines

and did his one-person show featuring two of his most know works: The Sketches and
The Builders. According to Galeria de Rojo, Edaded painted his interpretations of the

scenes he witnessed and not just a mere image of what his naked eye sees. It served

as the extension of his imagination and reality.

The Builders, which he made in 1928, was said to be his Master thesis (Galeria

de Rojo): this remarkable piece, a dark and strenuous image of laborers. 'The Builders'

shows a series of men engaged in laborious work, not minding those around them. He

made the painting with harsh brush strokes and lines that emphasized the darkness of

the message he was trying to convey. The lines and brush strokes also helped curve the

masculine body of these men, which gave justification for their tiredness and distress.

The setting of the painting is in a field with several trees and covered with wide-range

land. People will recognize guys pulling and pushing a wagon; some were too much

engaged in lifting bug chunk of rocks. I also see white and black men giving each other

a hand, and some were excessively focusing on their work, not minding those around

them. Dark colors were used, and a touch of brown was used, in which brown signifies

endurability, and to add, no light was directed to anyone. It was merely like a captured

photo of laborious men. No face was manifested in the painting, unlike all the other

works of him. I noticed some few figures that do not have a head; some tilted upwards,

and a rock-texture material is standing on the ground, molding head-and-face-like

features. Men were painted as very engaged in their work, thus creating a contorted

body.

Moreover, 'The Builders' is a nude painting depicting laborious men. According to

Middles Planet Staff (2017), an aspect of art, in his article Artistic Expression –
Understanding Nudity in Paintings stated, naked body way for artists to have a creative

mind and freely express himself, e.g., different emotions: anger, desperation, and

power. It is also easier to convey body movements through this type of art.

If people are to look aesthetically, people who do not observe and appreciate the

true beauty of art will not also understand this work of Edades; this does not meet the

standard set by society for beauty. This work of Edades is a clear depiction of the harsh

reality of life. Friedrich Nietzsche said, "The truth is ugly. We have art not to perish

from the truth." And when I saw the painting, I had to stare at it for a long time.

Curiosity kicked in me, wanting to decipher what Edades wished to accomplish and

convey. When I encountered a chapter from Renato Constantino's book The

Philippines, Towards A People's History , he stated there that slaves and men are the

leaders' success. They are overlooked and could not even touch, enter, or experience

what they built for these ungrateful leaders to become remarkable people in history.

For instance, a farmer who plants crops but, in the end, they are the ones who have

nothing to eat.

It just felt as if these laborious men do not choose but to just comply themselves

to work to survive. The contorted bodies of men in the painting made my imagination

wander, and thought of its resemblance in the bent justice system here in the country if

the picture was made in the current year. For instance, Red-tagging is the act of

accusing someone or an organization as a communist or a terrorist. We have this Anti-

Terror Act of 2020, approved last July 3rd in the current year, which deprives Filipinos

of their freedom of expressing themselves. Neri Colminares (2020) said, "It chills
freedom of expression. It chills free speech. It chills freedom of the press. It chills the

freedom of association." Also, some cases were falsely accused of doing something they

had not done and suffered inside the jail, while people who defied the law are freely

wandering around, enjoying the privilege they have. Justice is not served to these

people. Just like what other people say, "Justice is for the rich only."

Conclusion and Reflection

As I pondered these five artworks, I realized that maybe the professor wanted us

to see the societal issues currently arising. For the first painting, Angry Man, I thought it

represents the people of the Philippines. In recent times, Filipinos are very vocal about

their opposition and anger towards the current government regarding issues like; (a)

Red-tagging; (b) the budget allotted for the rehabilitation of Manila Bay instead of

allocating the budget to support people in the midst of this pandemic; (c) Baby River

and Reina Nasino's case – injustice; (d) Anti-Terror Bill Act of 2020 – deprivation of

freedom to express. In the next painting, Camote Diggers resembles the issue of

hunger in the middle of this crisis. In the first few months of Enhanced Community

Quarantine (ECQ), news of individuals stealing goods from a convenience store arose

due to the closing of several companies, losing jobs, and the government's lack of
assistance. The third painting, Gadgets, is a symbol for this New Normal setup, classes

done online. Where students and teachers are engaged in using electronic devices all

day for the entire week. The fourth painting, Madonna of the Slums, tackles the issue of

poverty. Since then, poverty is the main issue in the country. And in current times,

some students did not enroll for this school year due to a lack of support and financial

needs to comply with the new normal setup. And last painting, The Builders, depicted

the continuous and straining work of the medical front liners in fighting against Covid-

19. In the first few months of Enhanced Community Quarantine, news about medical

frontliners not being treated right emerged. Last August 15, 2020, a news article was

written by Joseph Pedrajas with the title More complaints about unpaid hazard pay of

healthcare workers surface was posted.

Through this analysis, I had the opportunity to contemplate the arising issues,

addressed or unaddressed, in the Philippines. I learned to see the opportunities I have

that others do not. And my desire to help other people once I had the capacity,

intensified as I decipher the superficial and in-depth meaning of these works. Thanks to

my professor, who gave this work, I have learned new things and formed new goals.

Truly, "Art is not what you see, but what you make others see." – Edgar Degas.
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