The first half of the 20th century Philippine art scene is predominantly romanticism with Fernando Amorsolo and Guillermo Tolentino on the helm as University of the Philippines’ School of Fine Arts deans and professors respectively. For Tolentino, distortion in painting is a ‘cardinal sin’ and therefore it’s ugly. This inclination however changed when Victorio Edades, upon return to the country, was inspired by the Armory show in the United States that debuted his work “The Builders”. It was controversial but became moderately successful; however, it had enticed young artists who preferred to deviate from Amorsolo’s art style which then had become the benchmark of fine art painting.
Her art form can be best described as automatism, where the spontaneity and intricacy of endless and complex elements are highlighted. As an artist and interior designer, she likens her works to a message board, where she intends her audience to dissect and decode her pieces and interpret it purposely.
For her the participatory function of the viewer is as important with the title of her works. Anna de Leon’s paintings are a combination of direct imagery and non-representational elements arranged and composed using a variety of unconventional and tried techniques creating arresting motions and illusions.
De Leon was a member of the Saturday Group since 2000 and served as its president from 2008 – 2010. Presently she had several group exhibitions and had six one-woman shows.
Different from the two titans with his artistic vision, Edades helped in instituting Architecture courses in the University of Santo Tomas which later had developed the Painting program that he became its first director in 1935. Prior in 1934, Edades, who was earlier shunned by his vigorous to almost expressionistic application of paints and distorted figures, enlisted Carlos “Botong” V. Francisco who was distinguished for his linear and lyrical paper-like-stylism and Galo B. Ocampo with his Filipino-Christian indigeneity compositions. They worked on several mural projects including “Rising Philippines”, which was housed at the lobby of Capitol Theater in Escolta Manila and became pioneering professors of UST-Fine Arts. These three distinguished modernists became the Triumvirate of Modern Art in the country.
Moreover being a well-known and multi-awarded artist in the country and abroad, Dean Emeritus Rosario Bitanga’s contribution to art scene is immeasurable. She had a degree in Master of Fine Arts where she finished in Michigan at Cranbrook Academy of Art. She is an academician, art consultant, curator and concurrently a Member of the Advisory Council at Philippine High School for the Arts, Member of the Advisory Committee of the UST Fine Arts the director of the Museum and Gallery of PWU. Considered as one the first woman abstractionist in the country, her works are prominently arrays of non-representational forms depicting continuous motions and expressionistic landscapes as well sculptures done in metal, terra cotta, glass, resin, and concrete in neo-futurist fashion.
Her latest solo exhibition and book launching “Apassionista”and book was in 2013 at Altro Mondo. Some of her works collected by public institutions and private collections can be found in Malaysia, Japan, Australia, the Vatican, Italy, Canada, and the United States.
UST Fine Arts is the bastion of Modernism in the Philippine Art Scene. When World War II arrived, schools of fine arts were also put to a halt. Nonetheless, the lasting effects of modernism, instituted by the triumvirate, paved the way for younger artists to study abroad especially in the U.S where modernism is the grand style compared with classicism in Europe. Among these are Manuel Rodriguez Sr. known as the father of Philippine Modern Printmaking who also introduced the craft in UST’s College of Fine Arts and Architecture; Rodolfo Paras-Perez who did not only favored wood-cut printing but wrote extensively about Vicente Manansala; Fernando Zobel, Galo Ocampo, and the like, who in the process had brought more leaning towards the new style.
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both a painter and sculptor his works resonate progressively and innovatively through decades of practice. Among his notable recognitions was being included in the list of Outstanding Artists and Designers of the 20th Century by the International Biographical Centre in Cambridge, England in 2000.
Edgar Doctor’s works are among Ayala Museum collections.
University of the Philippines on the other hand, inevitably influenced by the on-going tendencies, gave birth to National Artist Napoleon Abueva, a student of Tolentino. He then would go dramatically against the standards by using a variety of materials and techniques integrating sculptural and functional qualities in his works, whereupon he is hailed as the Father of Philippine Modern Sculpture. On the other hand, Modernism in the 30’s-80’s era in UST Fine Arts, had it existence cemented by professors including Alejandro Celis, Bonifacio Cristobal, Severino Fabie, Wenceslao Garcia, Antonio Garcia Llamas, Diosdado Lorenzo, Vicente Manansala, Riccardo Francesco Monti, Galo Ocampo, Ricarte Puruganan, Virginia Ty Navarro, Elvira Lagdameo Royeca, Rafael Enriquez Jr., Anastacia Mamuyac, Cenon Rivera, Leonardo, Hidalgo, Mario Parial, Antonio Austria and Rolando Alib.
Is according to his own words “largely self-taught.” His advertising course at the time however as a rule expected students and practitioners alike to render realistic portrayals if not stylistic illustrations of products and people promoting the advertisement. Thus, his style could be considered as pop-realism or contemporary realism, a movement that is popular during the American occupation due to the surge of import industry and local labels as well must follow the trend to compete. Along with it came the so-called Amorsolo style, whereas in its later stages abandoned European classicism and followed pop-realism. Amorsolo himself was commissioned to design the Ginebra San Miguel label. Among great contemporaries of Amorsolo are none other than the great Norman Rockwell, thus explaining Juno Galang’s inadvertent influence from Mabini Artists as foundation of his style and further developed upon introduction to modernism when he migrated in the United States working as a freelance illustrator. After several years of an illustrious career as an illustrator and designer, he moved to Honolulu to continue his creative pursuit as a fulltime painter. His 22 years as an exhibiting artist in the galleries in the U.S paved him to come back to the country upon retirement where he abandoned his former style and used a more painterly style such as impressionism.
“My art evokes the emotion of the viewers, the true colors of life, peace and joy. It expresses and reveals part of my heart and soul. It is a balance between the beauty of human existence in a style of abstraction, cubism and distorted impression.”
The 90’s was arguably the golden years of UST Fine Arts winning students and competing art professionals. This was highlighted by batchmates Rolando Ventura, Alfredo Esquillio, Wilfredo Offemaria Jr and Melvin Culaba. They caused the rebirth to classicism and mannerism by revitalizing it with fresh-look, focusing on themes revolving around spirituality, symbolism, surrealism, and social-realism. The onset of the 21st Century gave rise to a dynamic and multi-awarded artist group called “Young Thomasian Artist Circle”, a brainchild of Rev. Fr. Isidro Abaño O.P, former dean and regent of College of Fine Arts and Design. Among its significant members are Buen Calubayan, Wesley Valenzuela and Jaime Jesus Pacena II who all became professors in the newly named College of Fine Arts and Design. Other members of the YTAC are Andres Barrioquinto, Ivan Roxas, CJ Tañedo, Linds Lee, Lawrence Borsoto and Mark Magistrado. In 2005 and onwards, following batches, inspired by the successes of their predecessors, made their way not as a group but collectively and individually. Many are still active in the scene. Some were recognized in the 13 Artists Awards and Ateneo Art awards, teaching in the academe and doing curatorial work. Among them are Mark Salvatus, Paolo Icasas, Cos Zicarelli, Emman Acasio, Abe Orobia, Juert Asejo, Janos Delacruz, Marius Funtillar, Mars Bugaoan, Dino Gabito, Ku Romillo, Geloy Concepcion and JP Pining.
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Both a painter and a master printmaker, his abstract renditions are always enigmatically refreshing. He is a colorist and purist. Raul Isidro is a multi-awarded artist and served as judge in several national art competitions. Unbeknownst to many he is also an academician and served as a Dean in PWU in the 70s where he institutionalized and revolutionized printmaking as a subject. He also became an Art Association of the Philippines and Philippine Association of Printmakers president. He is also a philanthropist by teaching and sponsoring art-related activities in his hometown, Calbayog, Samar.
In the mid-2000, upon the initiative of former Dean Jaime delos Santos, CFAD began to focus its research on Thomasian artists. Serving as a curator for the exhibits, Asst. Prof. Mary Ann Venturina Bulanadi, Ph.D., provided direction when she first researched about the late National Artist and UST alumni, Ang Kiukok, titled “Pillars of UST Fine Arts.” It was also during this period that the research was divided into two main studies—the pioneer art educators of UST and the fine arts program students who would later comprise the next generation modernists. The research became a foundation data bank for Thomasian artists past and present at the time. In 2010 at the anticipation of the 400th year founding of UST, a series of exhibitions were curated on different venues. The exhibit showcased the works of fine arts alumni in “Triptik: Jane Ebarle, Mario Parial, Oliver Rabara;” “Colors of Amor Lamaroza;” and “Tres: Ed Castrillo, Ramon Orlina and Joe Datuin.” This period helped create an avenue for greater possibilities, featuring the diverse talent of Thomasian artists through its artist exhibition program. In 2012 a follow up two major exhibitions were held. The first exhibit entitled “On the Trail Blazed by the Pioneers’ ‘ featured the pioneer faculty members of the UST CAFA and CFAD, at the GSIS Museo ng Sining. The second was a series of quarterly exhibits, “Artistang Tomasino Ako!” at the Beato Angelico Gallery.
A late entrant in the field of Visual Arts, Marge Organo was an entrepreneur owning a pharmaceutical business before entering the art scene. She had affinity with art even before studying in the College of Science and Law at UST. She first took workshops with Paul Quijano in his U.P Artelier before pursuing studies in glass sculpture at The Studio of the Corning Museum of Glass in Corning, New York, USA, in 2016 and The Glassmaking School of Kamenicky Senov in Czech Republic in 2018, where she was the first Filipina to study in both schools.
Her distinguishing technique and elements in her pieces are the use of lamination and gold leaf and flowers motifs which arguably separates her from other sculptors indulging the artform. Most of her works have spontaneity and accidental moods attributed to it hence the whimsicality of her works.
“I love glass because it’s very elegant. It gives me so much joy and inspiration looking at its brilliance and colors”
Her two latest exhibitions were a two-woman exhibition in ManilArt 2020 and at Galerie Joaquin of the same year.
The notion that UST Fine Arts is significantly known for its use of superb technical skills whereas UP, concept wise, was dominating the landscape was a misconception at its best. The intermingling of school culture brought by professors and students joining inter-school art competitions which was started by UST Rector Magnificus Fr. Silvestre Sanchez, O.P, in 1941 to date, while at the same time being exposed to the new media and allied arts such as advertising practice, interior design and architecture which are also degrees in UST are few of the factors that relatively influenced Thomasians to become multi-faceted artists. Outstanding examples are Roberto Chabet, Jose Tence “Bogie ” Ruiz, Mark Salvatus and Mideo Cruz, who are known for their conceptual and critical thinking.
One of the few Printmakers in the country to study lithograph techniques abroad. He is a well-acknowledged Master Printmaker and Painter. He specializes in Mezzotint, where his Fine Prints including Paintings are easily distinguishable despite the difference of the medium used. He is recognized for his highly detailed and evocative images depicting local mythology and folklore which is enculturated with art-nouveau-lyrical stylisms. Among his grand honors are as a recipient of “Parangal ng Patnubay ng Sining at Kalinangan” from the City of Manila and the 13 Artist Awards by the Cultural Center of the Philippines. He is a former president of the Philippine Association of the Printmakers and a former senior lecturer at the College of Fine Arts in University of the Philippines Diliman. The Artist has held over 20 solo art exhibitions.
Art styles and movements are born through curiosity and distaste of an artist’s ever-wandering creative mind. Interpolation in art is naturally a yearning and a fundamental need in every artist to insert ideas and concepts that are different from a pre-existing or established norm in creation. Whether consciously or not, once a piece is born, it creates new dialogue that first and foremost satisfies its creator but later re-examined and re-evaluated. As its first viewer, the participatory role of its maker is then shifted towards the absorption of the piece’s essence and inject his or her viewpoint and deduce what is essential and relegate what is pointless. Continually it is a progression of choice, to add or to subtract or more specifically to replicate or to alter. It is a never-ending process of interruptions but progressively producing innovative forms manifested through several trials resulting in the precision of the method used. Concept is characterized by telling a narrative, an assimilation and assertion of understanding into visual form. Concept is the treatment of the content and the vehicle that drives its point. Concept is fueled by the reality of its maker and this reality alludes with the interest in depicting the actual social, economic, and political conditions of its time.
A progeny of a Visual Artist, he is also a Painter and Printmaker. Along with his numerous exhibitions, Janos Delacruz is a multi-awarded artist and a recipient of the 13 Artists award in 2018. His works always tell a story based on his experiences, beliefs, and principles. He is a cerebral artist who delivers his narratives not only by the elements present in his works but by devising intrigue and curiosity by using lines, shadows, light source, and such. Janos Delacruz is excellent with the use of metaphors and purposely creates his contemporary pieces.
He is a former faculty member of the painting department in UST-CFAD. The Artist has held over 14 Solo Art Exhibitions.
Modernism (1930s to the late 1990s) and post-modernism (2000s onwards) in the country did not only birthed successions and rebellions of mannerist stylizations and isms from different generations of artists and designers but also initiated freedom for the individuals who do not have a formal training as a degree but was drawn to the euphoria of creating their own expressions. Some of them are medical practitioners, some are businessmen, some are lawyers and literally from every walk of life who delve into art first as a hobby but eventually became a full-blown career because they aspired and flourished.
A practicing obstetrician-gynecologist and doctor by profession. Meneline Wong is a self-taught artist. Wong is known for her exquisite non-representational pouring paintings. Her works are inspired by her belief in the healing power of science and art. Her works are characterized by meticulous layerings of color to evoke emotions relative to present human conditions she is portraying. She has a number of group shows and two solo exhibitions. The most recent was in Galerie Roberto titled “in Moments Like These.”
This exhibition titled “VISION x INTERPOLATION” is organized by the personal efforts of Ms. Marissa Pe Yang, President of UST-CFAD Alumni Association to bring the whole Thomasian artistic community together. It aims to showcase generational practices and stylisms embodied by Thomasian seniors, mid-career and upcoming young artists. This exhibition is the first of the series of the line-up presenting them. It highlights different dialogues and expressions not limited to painting but print and sculptural works as well. The exhibitors are as follows: Rosario Bitanga, Juno Galang, Edgar Doctor, Raul Isidro, Ramon Orlina, Anita Del Rosario, Fil Delacruz, Jess Flores, Lydia Velasco, Marge Organo, Elmer Dumlao, Anna de Leon, Lisa Villasenor, Chris Pizarro, Jaime Nepomuceno, Richard Buxani, Meneline Wong, Milmar Onal, Juert Asejo, Janos Delacruz, Summer de Guia, Ron Mariñas.
Separates himself from other sculptors by prominently depicting warriors and period inspired sculpture series such as Samurai, Vikings and currently the Boxer series, an ode to our Olympic heroes. As an architecture graduate and coming from parents of different racial descent and growing up in Manila he was able to connect his background with his art, belief, and sensibilities. Fittingly his choice of material, steel brass, bronze and plus the technique used alludes to the concept of his works. As warriors are symbolic of battle-hardened individuals or class which is reached through rigorous training, resiliency, determination and countless defeats and victories so as Richard Buxani’s methods in working on his pieces; building them from scrap, patching it up piece by piece and adding layers then bathing it with fire and to repeating the process all over again to come up with the finish form.
Richard Buxani’s love affair with sculpture began in 2009 as a tinkering hobby. Eventually, he was mentored by Rolando Castrillo, also a Thomasian, who used to work with his architectural and interior design projects.
Recently, he and the late Riel Hilario launched the Artist Response Project together with Ilomoca Museum. He has done numerous group exhibits, a two-man show and 8 solo exhibitions to date. He has also participated in exhibits in the U.S., Hongkong and South Korea, Malaysia and Indonesia.
“Interpolation Techniques” opens on September 8, 2021, at Art Anton, G/F, S Maison, Conrad Hotel Manila, Marina Way, Mall of Asia Complex Pasay City, Philippines. Exhibition runs until September 24, 2021. Email inquiry.artanton@gmail.com for more details.
Relative to pointillism, which was popularized by George Seurat a French Neo-Impressionist, Milmar Onal’s works instead of dots are juxtaposed multi-colored and textured elongated lines. Pointillist’s pallets tend to look like muted colors due to the visual phenomenon of color-cancelation, leaving the ground color to illuminate more than top-color themselves due to juxtaposition. The same could be observed with Milmar Onal’s work whose pieces palette tends to be muted yet surprisingly full of light. In connection, his solid colored-backgrounds along with its linear emphasis gives the viewer a sense of movement and energy in his works.
Vision x Interpolation words by: Abe Orobia
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His name is synonymous with cold-glass sculpture in the country, for he popularized the use of the technique. His works range from huge none-figurative monoliths to small works depicting the female form. For him the glass is always an intriguing material for it has endless possibilities in creating his art. Ramon Orlina is a licensed architect and was recognized by several award-giving-institutions here and abroad. Among his outstanding accomplishments were winning the Biennale awards in Japan and Spain in 1999 and 2000 respectively. His most significant work is “QuattroMondial ” 10.32 meters high, bronze-cast sculpture and glass on the center, a monument at the Plaza Mayor of University of Santo Tomas. In 2014, Museo Orlina opened its door in Tagaytay.