ARTApp-Phil-Art-History-PPT1-Colonial-Art.ppt.pdf

ARTAPP MODULE 6 PPT 1 PHILIPPINE ART HISTORY Colonial Art in the Spanish Period PHILIPPINE ART HISTORY: (PPT 1) COLONIAL ARTS OF THE SPANISH PERIOD HISPANIC ART (1565-1700) Spanish culture and religion inspired portraitu...

ARTAPP MODULE 6 PPT 1 PHILIPPINE ART HISTORY Colonial Art in the Spanish Period PHILIPPINE ART HISTORY: (PPT 1) COLONIAL ARTS OF THE SPANISH PERIOD HISPANIC ART (1565-1700) Spanish culture and religion inspired portraiture. (ikon + imagen) + (bua + larawan) = Phil. colonial art. The principal purpose of Hispanic art is religion, like Philippine pre-Hispanic art; as visual tools for the propagation of the Christian faith. Chinese migrants were the first artists. Features of colonial art: flowing drapery, almond eyes, soft brushworks, and emphasis on line rather than light and shadow. Chinese artists introduced the technique of ivory sculpture (now recognized as the unique Philippine contribution to Hispanic art.) Unknown Artist Blessed Trinity Late 18th –early 19th century Polychrome wood 29 x 21.8 cm Immaculate Conception 17th century, Ivory Height: 40 cm UST Museum Collection Santo Cristo 17th century, Ivory Height: 57 cm Intramuros Administration Collection  Indio sculptors and carvers were summoned and commissioned to carve icons for the newly built churches. From anito to santo The “popular” style of religious sculpture = indigenous tradition + Christian form Painters, both Chinese and Indios (locals) were employed to animate the santo-makers’ works Thus, in the beginning, painting was subordinate to sculpture Resurrection Early 19th century San Roque Molave wood 18th century 191 x 87 cm. Molave wood Intramuros Height: 44.5 cm. Administration Pagrel Collection Collection San Agustin Church  Early painters had learned the Spanish estofado technique. The process of encarnacion was also introduced. Anitos = black, Christian God, angels and saints = white complexion (race) These efforts gave rise to the “classical” or formal style of sculpture. In painting, tropical wood became the popular material. Juan de los Santos of San Pablo, Laguna (ca. 1590-ca.1660) was the only 17ht century Filipino sculptor we know by name. (One of his works, a huge retablo is in San Agustin Museum) Juan de los Santos Wooden Altar ca. 1650, Wood San Agustin Museum Collection Immaculate Conception 17th century, Ivory Height: 40 cm UST Museum Collection De Gonce with movable limbs Quita y Pone with detachable parts De Bulto fully carved in round Bastidor carved bust with conical framework for lower body Unknown Bohol Artist The Crucifixion 18th-early 19th century Polychrome Wood 82 x 54.5 cm Private Collection THE FORMATIVE YEARS (1700-1800) The 18th Century was the formative period of Philippine Art. The most common subjects of religious painting and sculpture reflected Filipino social values and circumstances. A three-generation Holy Family – a unique Philippine art motif – manifested the pre-eminence of the family. Patron saints were assigned to each town and barrio, and made the devotional object of each year’s local fiesta. Damian Domingo La Sagrada Familia ca. 1830 Aquarelle on copper sheet 46.5 x 34.5 cm Lourdes V. Ongpin Collection Nuestra Señora del Carmen 18th century, Wood 74.2 x 50 cm. Intramuros Administration Collection Nuestra Señora de la Paz First half of 19th century Oil on Wood 45.5 x 34.6 cm. Intramuros Administration Collection Colonial Engraving Between the evolution of sculpture and the flowering of colonial painting, the “midway’ art of engraving reached its height in the 18th century. Francisco Suarez (ca. 1690-ca.17620) and Nicolas de la Cruz Bagay (1702-ca. 1765) – the leading Filipino engravers who did genre as well as religious works, showing their countrymen of different racial and social classes. The printmakers / engravers were the first Filipino artists who signed their work. They were also the first to reproduce brown Madonnas like the Nuestra Señora de Guia (1711) Francisco Suarez Philipo V Rey de las Españas 1738, 32 x 23 cm. Dr. Eleuterio M. Pascual Collection Nicolas de la Cruz Bagay Jesus Dying on the Cross 1760 Engraving from Manga Panalangin Unknown Engraver Nuestra Señora de Guia 1711, Copper Engraving Domingo Abella Collection Colonial Painting Colonial painting began to flower during the late 18th century, as interest in the black-and-white print waned and its quality declined. The policies of King Charles III of Spain nurtured the flowering of the colonial painting in the Philippines. King Charles III dispatched scientific expeditions to record the flora and fauna, as well as the customs of the Filipino. The Conquest of Batanes – the earliest known painting of a Philippine historical episode. Tipos del Pais (human types of the country) became a fresh topic of local artists. Damian Domingo Una Mestiza Mercadera de Manila ca. 1830, Watercolor on Rice Paper 46.5 x 35.5 cm. Lourdes V. Ongpin Collection Quiotan, Domingo and Philippine Academic Art (1800-1850) Faustino Quiotan (ca.1770-1825) – a chinese mestizo from Sat. Cruz, Manila, certainly one of the first Filipino artist to show emotion in his subjects. Damian Domingo (ca. 1790-1832) – the Filipino master of the early 19th century, who set up the first of its kind private art school in the country in 1821; he was the first known Filipino artist to do a self-portrait. Filipino Portraiture came of age in the 19th century. In 1823 the Real Sociedad Economica founded an art school which was offered to Domingo in 1826, and known as Academia de Debujo. Damian Domingo La Sagrada Familia ca. 1830 Aquarelle on Copper Sheet Lourdes V. Ongpin Collection Juan Arzeo Magdalena ca. 1830 Approx. 305 x 244 cm. UST Collection Justiniano Asuncion Portrait of Filomena Villafranca 1860, Oil on Canvas 86.4 x 66 cm. Eleuterio M. Pascual Collection Justiniano Asuncion Portrait of Agueda Paterno ca. 1860, Oil on Canvas 84 x 65 cm. Private Collection Justiniano Asuncion Romana Carillo 1870, 73 x 56 cm Arch. & Mrs. Leandro Locsin Collection Jose Honorato Lozano, Letras y Figuras Balvino Mauricio 1864, Oil on Canvas, 93 x 113 cm, Alejandro Roces Collection Jose Honorato Lozano, Letras y Figuras Francisco de Yriarte ca. 1867, Watercolor, 52 x 80 cm, Private Collection Simon Flores y de la Rosa Quiazon Family 1880, Oil on Canvas 145 x 109 cm. Arch. & Mrs. Leandro Locsin Collection  Felipe Roxas, Antipolo Church 1889, Oil on Board, 40.6 c 53.3 cm., Pagrel Collection Felipe Roxas House be a Bridge in Paete ca. 1880, Oil on Board 53.3 x 40.6 cm. Pagrel Collection Telesforo Sucgang The Beggar ca. 1880, Oil National Museum Collection Miguel Zaragoza El Violinista Oil on Canvas National Museum Collection Caryota Onusta from Flora de Filipinas 1877, 42.25 x 29.25 cm. UST Museum Collection Agustin Saez Cover of Flora de Filipinas 1877, 42.25 x 29.25 cm. UST Museum Collection  Juan N. Luna, SPOLARIUM 1884, Oil on Canvas, 97 x 180 cm. Felix Resurreccion Hidalgo, Virgines Cristianas Expuestas al Populacho 1884, Oil on Canvas, 115 x 157 cm., Central Bank Collection Felix Resurreccion Hidalgo The Assassination of Governor Bustamante Oil on Canvas 412 x 338 cm. Leandro Locsin Collection Felix Resurreccion Hidalgo En El Jardin 1885, Oil on Canvas 27 x 21.3 cm. Eugenio Lopez Foundation Collection Juan N. Luna España y Filipinas 1886, Oil on Canvas Eugenio Lopez Foundation Collection Juan Luna Lady at the Horse Races, Longchamps, Paris 1880, Oil on Canvas 112 x 77.5 cm. Ayala Museum Collection Juan Luna Lady with a Shawl 1880, Oil on Canvas 112 x 77.5 cm. Ayala Museum Collection Juan Luna Mi Esposa ca. 1890, Oil on Canvas 82.5 x 63 cm National Museum Collection