TATTOOS

PRE-COLONIAL
- The Pintados [painted ones]
PERIOD - Meanings + application of the
tattoos vary between men and
HISTORY women
- Batok / Batek tattooing technique;
makes use of bamboo stick and
During this period, the most prominent
thorn, having the thorn dipped in
forms of paintings / visual arts are
wet charcoal then hammering it to
Tattoos and Cave paintings. This is due
the skin
to the arts at this time were only for
ritual purposes and everyday use. This
SILUP
period also marks the start of arts having
- Type of tattoo that imitates the
developed beyond a mere craft and
upper garment worn by men of
incorporated with decorative elements,
North Kalinga
meanings, and contexts.
- The women of South Kalinga
painted their faces bright red
CAVE PAINTINGS

TATTOO TRADITION TODAY

PETROGLYPHS
- Efforts to revive the Batok / Batek
- Also known as Angono
tradition of tattooing
Petroglyphs
- Whang-Od: a traditional batok /
- Oldest known painting/artform in
batek tattoo artist
the Philippines
- Dated and probably carved before
27000 B.C. COLONIAL PERIOD
- Consists of 127 human and
animal figures engraved on the
HISTORY
walls of the cave

Spaniards used art to spread the Catholic

religion by creating beautiful paintings
during their arrival in the Philippines in
1521. They used visuals to explain
concepts underlying Catholicism, and
tell stories about Christ’s life and passion
because communication was a barrier.
Paintings were only created for churches PURGATORYO (THE
and religious purposes. The first still-life PURGATORY)
paintings in the Philippines were created
by Tagalog painters Jose Loden, Tomas
Nazario, and Miguel Delos Reyes.

THE CONQUEST OF BATANES

- Mural was done in 1783
- Done by an unidentified local
painter
- Located in Intramuros’ Palacio
Real [Royal Palace]
- Jose Luciano Dans, 1850
- Destroyed during the earthquake
- Can be found in Paete, Laguna’s
in 1863
St. James the Apostle Church

THE BASI REVOLT

LANGIT, LUPA, AT IMPYERNO
(HEAVEN, EARTH, AND HELL)

- Painting was done in 1821

- Esteban Pichay Villanueva, a
Vigan Painter
- 14-part artwork portraying the
conflict between Ilocanos and
colonists from Spain
- Oil on canvas, measuring
91.44cm x 91.44cm
- Jose Luciano Dans, 1850
- The mural reached a height of 5m
- Paete, Laguna’s St. James the
Apostle Church
- The Holy Trinity, Mary, the
Mother of Christ, saints, the
Seven Blessed Sacraments, and a
 horrific image of Hell are
depicted in this 3-level painting
SPOLIARIUM
- First created in 1884
- Juan Luna, a Filipino Painter; he
worked on this painting for 8
months
- Its representation of Roman
cruelty has been viewed as an
analogy for the Philippines’
condition under Spanish control
- Submitted to the Exposicion
Nacional de Bellas Artes
(National Exhibition of Fine Arts)
in Madrid
- Oil painting, measures 4m x 7m
in dimension
CHRISTIAN VIRGINS EXPOSED
TO THE POPULACE
- Felix Resurrecion Hidalgo, 1884
- Located in the Bangko Sentral ng
Pilipinas
- 1.15m x 1.57 m in dimension
POST-COLONIAL
PERIOD
HISTORY
When the Japanese came, Filipinos
suffered. The country’s citizens were
frightened because of the government’s
overwhelming control, and WWII is the
deadliest and bloodiest war in history.
More than 38 million people perished by
the conflict’s conclusion, many innocent
civilians. It was also the most
catastrophic conflict in our present
history.
The fighting went on in various areas of
the world, with the brunt of it being in
Europe and Japan. More than 50 nations
took part in this battle, which changed
the globe forever. After the war, some
artists and painters focused their artwork
on the effects of war, including battle
scenes, destruction, poverty, alienation,
and the Filipino people’s suffering.
MADONNA OF THE SLUMS
- Vicente Manansala, 1950,
measuring 86.5 x 61 cm, and
considered the key modernist
- Portrayal of a mother and child
from the countryside who became
urban shanty residents once in the
city
BAYANIHAN
- Carlos Francisco, 1960
- 62.5 x 47.5 cm, water color
- Portrays the cooperation of
community
- Expressed itself simply, clearly,
and passionately; showing
Filipino characteristics by
following a historical practice of
assisting neighbors in migrating,
obtaining enough helpers to carry
the entire house and transferring
to a new place. At the end of the
day, everything is done in a
cheerful and joyful manner. The
relocating family shows gratitude
by throwing a small fiesta for
everyone
FIESTA OF ANGONO
- Carlos “Botong” Francisco, 1960,
oil on canvas, measuring 264.2 x
269.3 cm
- Illustrates what a fiesta would
appear like and how such
Filipinos are able to prepare such
a celebration with enormous and
continuous effort in preparing all
of the needs - design, program,
food - such that the community
can enjoy and make a feast of
gratitude
THE MUSICIAN NOTABLE FILIPINO ARTISTS

FABIEN DE LA ROSA
- Recognized for his realistic
portraits, genre, and landscapes in
subdued colors
- Brightest name and most
important figure in Filipino
painting for the first quarter of the
century

- Vicente Manansala, 1971, oil on

FERNANDO AMORSOLO
canvas, 101 x 137 cm
- Known for his illuminated
- The solid understanding of Cubist
landscapes
pictorial vocabulary, sensitivity to
- The first among the few Filipino
realistic details, and mastery in
painters who captured the
creating the appropriate balance
character and magnificence of the
of representation and structure
country’s sunlight and different
- Portrays about 5 musicians
striking colors
- Works captured the quintessential
AMERICAN PERIOD elements of the genre
- Propagated the romanticism of
Philippine scenes
HISTORY
- Considered to be the chief
proponent of genre
After the Spanish colonization ended, the
- Master of light
Americans took over and colonized the
Philippines, and changed many of the
VICTORIO EDADES
country’s government and education
- Father of Modern Philippine
systems. They also influenced the visual
Painting
arts of the country by having a
- Painted “The Builders” - a
preference for landscapes, still life, and
response to the idealized vision of
genre themes that show the beauty of the
the life of the working class
land and people.

Additionally, public officials preferred

portraits depicting them as dignified
individuals.
GALO B. OCAMPO WOMEN WEAVING HATS
- Flagellants series depicted scenes
of Lent, juxtaposing / contrasting
images of war and penitence
- Designed the Republic of the
Philippine’s coat-of-arms
- Served as the Director of the
National Museum
- Earned the rank of Captain during
WWII - Fabian de la Rosa, 1930, oil on
canvas, 91 cm x 71 cm
CARLOS “BOTONG” FRANCISCO - Sold on auction for PHP 30 368
- Revived the forgotten art of mural 000
and became the most
distinguished practitioner BROWN MADONNA
- One of the first Filipino
modernists
- Known for his depiction of
important events in Philippine
history and the local activities

AMERICAN PERIOD PAINTINGS

THE BUILDERS

- Galo B. Ocampo, 1938, oil on

canvas, 62 cm x 47 cm
- Best remembered as a
“Historically Important Painting”
- Victorio Edades, 1928, oil on
canvas, 121 cm x 319 cm
- Regarded as Edades’ masterpiece
JOY IN THE FIELD
- Francisco Amorsolo, 1954, oil on
canvas, 61 cm x 85 cm
THE FIESTA IN ANGONO
- Carlos Villaluz Francisco, 1960,
oil on canvas, 51 cm x 76 cm
CONTEMPORARY
PERIOD
HISTORY
The fast development of personal
computers and new technology produced
a new creative medium for the arts and
human expression, but there were also
several revivals of classical genres. This
opened a new era for the arts, called the
Philippine Contemporary period for the
time being.
CONTEMPORARY FILIPINO
ARTISTS
ERNEST CONCEPCION (b. 1997): a
Filipino painter based in Manila,
Philippines, who uses a classical
landscape concept combined with early
modern caricatures and representations
to transport viewers into the context of
conflict while revealing the effects of a
larger 20th century, postwar existence.
RONALD VENTURA: a contemporary
Filipino artist whose work combines
realism, cartoons, and graffiti in a
dynamic way. Ventura draws inspiration
from science fiction, Western history,
Asian mythology, Catholicism, and
popular comic book characters to create
scenes of chaotic array.
DEX FERNANDEZ: graffiti artist based
in Caloocan, Philippines. Pop culture,
graffitti, children’s drawings, and tattoos
influence his work. He is known for his
iconic street art, Garapata.
NEIL PASILAN: Bacolod artist from a
family of carpenters and boat builders.
He spent most of his life modeling clay
figures. He is recognized for his
multi-layered paintings.
 - Art Fair Philippines in 2017, CONTEMPORARY PERIOD
collaboration with Raffy Napay PAINTINGS

KAWAYAN DE GUIA: son of Kidlat ISLA HUBAD

Tahimik and Katrina De Guia. He was
mentored by BenCab and Santiago Bose.
His works are mostly about the changing
urban culture of the PH.

ELMER BORLONGAN: Manila-based

artist, his paintings and drawings are
inspired from everyday scenes of local
urban life. His works were featured in - Neil Pansilan, 1980, oil painting,
the Metropolitan Museum of Manila. 22 in x 28 in
- Auctioned at Leon Gallery in
ANNIE CABIGTING: her works are real Makati
life forms. - Bought for $1,735
- Ateneo Art Awards in 2005
MOTHER AND CHILD
BENEDICTO CABRERA: a.k.a
BenCab. The best-selling commercial
painter of his generation and a prominent
head of the local contemporary art scene.
His paintings are figurative, mostly
female subjects.
- National Artist of the Philippines
for Visual Arts Award 2006

KIKO ESCORA: a.k.a. Manila Animal. - Benedicto Cabrera, 2003, acrylic

He was called a chameleon-like artist
because of his varying paintings in every
exhibition. His works are mostly about
violence and intimacy.
- 13 Artist Award by the CCP in
2003
on canvas, 40 in x 30 in
- The concept is explored, focusing
on Madonna of the Slums
- As if clinging to her own life, the
mother’s arms are affectionately
wrapped around the child’s body
- A single hand embrace can
convey intimacy
MANTRA
A PARIS AVEC UNE
POLONAISE ET UN ITALIEN
- Kawayan de Guia, 2003, mixed
media, 29 in x 19 in
TWO MEN (LOS ESCRIBAS)
- Benedicto Cabrera, 2008, acrylic
on canvas, 48 in x 48 in
- Grossed PHP 22 million
PORTRAIT
- Kiko Escora, 2008, oil paint, 95 ⅝
in x 73 ¼ in
- Instead of painting his subjects as
they turn away, with their faces
hidden somehow, Escora decided
to depict them as they turn out.
Each of his subject stands quite
close to the picture’s surface, such
as a close-up photograph
AMIE
- Annie Cabigting, 2011, oil on
canvas, 35 in x 31.9 in
- Viewers are made aware of their
act of seeing in Modigliani’s
self-referential picture Young
Man (student)
- The subjects are placed in a
museum atmosphere, with the
elongated neck capturing the
aesthetic of the referenced artist
STORIES OF OUR TIME
- Oscar Villiamiel, 2012, acrylic, 24
in x 18 in
- A remarkably basic collection of
art assemblages created from
antique dolls with missing heads
and limbs
GOLGOTHA ROCK
- Ernest Concepcion, 2013, enamel
and oil paint, 60 in x 48 in
- Located in the Light and Space
Contemporary
BIRTH OF A DYNASTY
- Ernest Concepcion, 2015, enamel
and oil paint, 60 in x 48 in
- Located in the Light and Space
contemporary
SWAMP THINGS
- Ernest Concepcion, 2015, enamel
and oil paint, 90 in x 72 in
- Located in the Light and Space
Contemporary
- Concepcion’s primary mediums
are acrylic and oil paint. Because
of the media’s transparency, the
swamp in the picture appears to
sparkle, demonstrating how
people worship materialism under
the sway of the market economy
DON’T BE A STRANGER
- Dex Fernandez, 2015, acrylic and
ink, embroidery on digital
photograph, 24 ½ in x 18 ½ in
- Located in Owen James Gallery
I WANDER, I WONDER
- Dex Fernandez, 2016, acrylic
- Located in Singapore Art
Museum
- The site-specific painting draws
attention to the Philippines’
vulnerability to typhoons, deadly
floods, and natural calamity. It
analyzes how these insignificant
objects portray the Filipino way
of life by using them as
inspiration
THE HAPPIEST PLACE ON EARTH
- Elmer Borlongan, 2017, acrylic,
36 in x 48 in
- A person eating french fries is
depicted in the painting. The
french fries in this photo are from
a well-known Filipino fast-food
restaurant. Filipinos, whether
wealthy or impoverished, are
familiar with this symbol
ATLAS’ SACK OF RICE
- Elmer Borlongan, 2018, acrylic,
36 in x 48 in
\
UNTITLED constant violence, capitalism, and
religious sentimentality

IN MY GARDEN

- Ronald Ventura, 2019, oil paint,

12 in x 16 in
- Located in the Whilestone Gallery

UNTITLED
- Neil Pansilan, 2019, mixed
medium, 77 cm x 58 cm

- Ronald Ventura, 2019, oil paint,

12 in x 16 in
- Located in Whilestone Gallery

HUMAN STUDY 006

- Ronald Ventura, 2019, oil paint,

12 in x 16 in
- Whilestone Gallery
- Conceptually about the modern
hell in which humanity lives: