Paintings

during the Spanish era

 • known as the “Father of Philippine Painting”
• took an important step toward his vision of making art
more accessible in 1821, when he established a
school for artists in his residence in Tondo.
• first of its kind in all of Asia to teach the Western
techniques of foreground, middle-ground, and
background perspectives.
• as director, he saw the introduction of non-discriminatory
policies that conferred equal rights on the Indios, who
until then had been mostly marginalized.
• works specializing in miniature portraits and religious
imagery and albums of illustrations of native costumes
(tipos del pais).
• has keen eye for details and has mastery of
watercolor.

Damian domingo y gabor

Secular
paintings
Nativity
circa 1780, Bohol
A painting imitating a
Christmas Belen.
Friar ANtonio
SedeÑo
A Jesuit who sought for Chinese artisans
outside Intramuros to teach them how to
paint for the purpose of decorating newly built
churches.
Nuestra SeÑora del
Rosario
1895, unknown
Inspired by Kuanyin, the deity of mercy in
east Asian Buddhism.
Nuestra SeÑora del
Rosario
Juan Arceo, 1825,
Bangko Sentral ng
Pilipinas
Nuestra SeÑora del
santisimo Rosario
1820s, Damian Domingo
.
La Sagrada Familia
Damian Domingo, 1820
The painting depicts three
generations of the Holy
Family. The infant Jesus
and His parents are at the
center, his grandparents
on either side, and God
the Father, the Holy Spirit,
and the angels high
above. At the center, Saint
Joseph tenderly holds
Jesus.
Catedra The image is based

de San on Gian Lorenzo

Bernini’s sculptural

Pedro en and architectural

monument, the

Roma
Cathedra Petri (Chair
of St. Peter) at the
altar of Saint Peter’s
Damian Domingo, Basilica at the
undated Vatican. This painting
shows the Holy Spirit
in the form of a dove
at the section
positioned above two
saints – St. Ambrose
and St. Thomas
Aquinas.
Langit, Lupa, impierno
Jose Luciano Dans, 1850

It is divided into three sections. The

upper part depicts the heaven, with
the crucifixion of Christ. In the
middle, world is given emphasis by
two figures in the center of the
painting; Adam and Eve standing
below the Tree of Knowledge.
Right below is hell, easily identified
by the suffering faces of the humans
painted there. Different punishments
were given to the sinners with
different transgressions, ones which
were probably done during their
mortal experience.
St. Christopher
Jose Luciano Dans, 1850
Medium: Natural color pigments
blended with volcanic ash on hardwood

A depiction of St. Christopher crossing

a river with the Child Jesus on his
shoulder as St. Christopher was told
that he would serve Christ in form of
helping the people cross the
dangerous river.

As of now, this 2 fresco are in need of

immediate conservation as the
hardwood is slowly getting consumed
by termites.
Via Crucis Bohol Gallery II

A series of 14 images arranged in numbered order depicting

Jesus Christ on the day of his crucifixion and accompanying
prayers.
1. Pilate condemns Jesus to die 8. Jesus meets the women of Jerusalem
2. Jesus accepts his cross
3. Jesus falls for the first time
4. Jesus meets his mother, Mary
Stations
of the
9. Jesus falls for the third time
10. Jesus is stripped of his clothes
11. Jesus is nailed to the cross

Cross
5. Simon of Cyrene helps carry the cross 12. Jesus dies on the cross
6. Veronica wipes the face of Jesus 13. Jesus is taken down from the cross
7. Jesus falls for the second time 14. Jesus is placed in the tomb
 “As one enters the nave of the church and
looks up at the ceiling, one gets awed by a
majestic portrayal of the second coming
of Christ. It has always been called a
portrayal of the last judgment, but there
is no scary portrayal here of separation of
sheep on the right and goats on the left as
in Matthew Chapter 25. What one sees,
rather, is the enthronement of Jesus as
the Son of Man (Daniel 7:13) with
‘nations and peoples of every language
coming to him.”
Archbishop Paciano Aniceto
St. James the Apostle Parish is known
for its Sistine Chapel-like ceiling
depicting many stories and characters
from the bible, one of this is the
Revelation 3:20, which is portrayed in
the image of Jesus knocking at a door.

St. James the apostle parish Betis, Pampanga

Paintings of St.
Matthew, St. Mark, St.
Luke, and St. John- the
gospel writers- painted
on the corners of the Betis, Pampanga
pillars supporting the
cupola of the church. St. James the apostle parish
St. James
the apostle
parish
Betis, Pampanga
Baptismal
shells
17th-18th century,
Jesus, Jose, at
Maria
Juan Senson, circa
1880-1890, Bangko
Sentral ng Pilipinas
San Antonio de
Baylon

Juan Arceo,
1836, San
Pedro
Bautista
Church
collection.
 Saint John
Baptizes
Jesus

Simon Flores,
c. 1870s,
Bangko
Sentral ng
Pilipinas
collection.
David
and
Goliath

Félix
Resurrección
Hidalgo,19
September 1867,
Eugenio Lopez
Foundation
collection.
Non-secular
paintings
Basi revolt
Esteban Villanueva

A series of 14 images depicting

the happenings during the Basi
Revolt, a 13-days revolt
brought by Spain’s move to
forbid the production and sale
of the local wine, basi.
 Book
covers
Frontispiece, Francisco
Colin, Labor Evangelica,
1663, Lilly Library.
Niccolò Billy,
Frontispiece of Gaspar
de San Agustín’s
Conquistas de las
Islas Filipinas, 1698,
Museo Oriental.
 MINIATURism
Painting style characterized by fine
lines and delineate details.

Delineate
- to describe, portray, or set forth
with accuracy or in detail
Jose Honorato
lozano
• best known as the pioneering practitioner of the art
form known as Letras y figuras.
• artworks range from portrait, tipos del pais, everyday
life, and letras y figuras.
• surmises that Lozano may have been trained by
Chinese painters or Filipino painters skilled in
Chinese painting techniques
Justiniano molo
asuncion

• known as Kapitan Ting

• student of Academia de Dibujo
• known for his portraits with accurate
details of hands, head, and clothing
• has numbers of works under tipos
del pais
 • enrolled at the Academia
de Dibujo y Pintura
• known for his portrait
paintings
• every “bahay na bato” mansion of a
“principalia” family in every town of
Pampanga had an oil portrait or a
painting by Simon Flores.

Simon flores y dela

rosa
 POrtraits
Paintings showing the
socio-economic status of a
family and or individual by
showing their clothing,
jewelries, and the
background.

Juan Arceo,
"Retrato de la
familia Azcárraga,“
1824
A Malay Chief from
Jolo. From Frank
Marryat, Borneo and
the Indian
Archipelago, 1848.
Simon Flores,
Portrait of the
Quiazon
Family, 1880.
 Antonio Malantic,
Soledad Francia,
1876

Antonio Malantic,
Inocencia Francia,
1876
 Justiniano Asunción,
Portrait of Teodora
Devera Ygnacio, circa
1880s
Justiniano
Asunción,
Portrait of
Agueda
Paterno,
circa 1860
José Rizal,
Portrait of
Maximo
Paterno,
1883
Bernardo Morales
Soriano, Moros de
Mindanao, 1887,
Ayuntamiento de Las
Palmas de Gran
Canaria
 Esteban Villanueva, El
Zacatero, 1875, Museo del
Prado.
 Letras y
figuras
An artwork where the
letters of a patron's
name is composed
primarily by contoured
arrangements of
human figures
surrounded by
vignettes of scenes in
Manila.

Marcos Ortega y del

Rosario, “Manuel
Miramon,” mid-19th c.
Jose Honorato Lozano,
Andrés Sánchez, 1858
José
Honorato
Lozano,
Francisco
de Yriarte,
1867.
 Tipos del pais
Series of artworks showcasing
the different people in the
community/country.

Justiniano Asuncion, Old

Beggar Led by a Young
Boy, undated
Damian Domingo,
Tipos del Pais,
Undated

Justiniano
Asuncion, Tipos
del Pais, Undated
 José Honorato Lozano, “Two Mestizas and
a Mestizo Going to Mass”, 1800s

José Honorato Lozano, “Two Mestizas and

a Mestizo by a Font”, 1800s
 José Honorato Lozano, “Street
Vendors Selling Bread and Milk” mid
19th century.

José Honorato Lozano, “Street

Vendors”, mid 19th century.
Everyday
life

Miguel Zaragoza y
Aranquizna, La
lavandera, 1875,
Ayuntamiento de Las
Palmas de Gran
Canaria
Simon Flores y de la Rosa,
Primeras Letras, 1890,
Jorge B. Vargas Museum
collection.
Jose Honorato
Lozano, Binondo
Church, 1884
Jose Honorato
Lozano,Bahay
na Bato, 1884
Miguel Zaragoza
y Aranquizna,
Juego de niños,
1884, Museo
Nacional del
Prado
 Miguel
Zaragoza y
Aranquizna, La
siesta (Estanco
nacional),
1884, Museo
Nacional del
Prado
 LAND
SCAPES

Esteban Villanueva,
On the Banks of the
River Pasig,
Manila, 1870s
Francisco Ruibamba,
Paisaje de Filipinas,1887,
Museo del Prado.
Auguste Borget, Scene in the
forest of Jala-Jala, Philippines,
1841, private collection.
 Julián Arístegui,
Paisaje de
Filipinas, 1887,
Museo del Prado.
Juan Luna
Y Novicio
spoliarium
1884
Medium: Oil on canvas
Dimensions: 4.22 m × 7.675 m (13.8 ft × 25.18 ft)
Location: National Museum of Fine Arts, Manila

The painting features a glimpse of Roman history centered on

the bloody carnage brought by gladiatorial matches.
Spoliarium is a Latin word referring to the basement of the
Roman Colosseum where the fallen and dying gladiators are
dumped and devoid of their worldly possessions.

At the center of Luna’s painting are fallen gladiators being

dragged by Roman soldiers. On the left, spectators ardently
await their chance to strip off the combatants of their metal
helmets and other armory. In contrast with the charged
emotions featured on the left, the right side meanwhile
presents a somber mood. An old man carries a torch perhaps
searching for his son while a woman weeps the death of her
loved one.
Las Damas Romanas 1882
Las Damas Romanas 1882
It depicted a domestic scene in ancient Roman life,
portraying two women lying on the steps of a house. The
hand of one woman was holding the reins of two pet dogs
or hunting dogs, in order to prevent them from scaring
away some doves. The doves symbolized divinity. The
background of the painting presented a shelf of artifacts.
To the left of the shelf was a shrine with a pediment
shaped like a triangle. In front of the pediment was a
burner with a smoking incense.
The parisian life 1892
The lady is a
portrayal of our
motherland and if
you look at the lady
she is “awkwardly
poised, disturbed
with a blank stare,
seemingly unsure
whether to stand up
or remain seated.
CHULA SERIES
Chulas refer to the barrio-bajo
women, meaning "poor-
district" or lower class
Madrileñas of Spain.
According to José Rizal, chulas
are attractive women with
black, deep, and passionate
eyes wearing mantillas and
carrying fans, who are
“always gracious”, full of
conflagration, affection,
jealousy and “sometimes” of
revenge.

1885
 It depicts a woman holding an
umbrella who is turning her head
flirtatiously. The Madrileña is naughtily
and alluringly looking back at the
spectator. Her head is skewed
flirtatiously with a teasing facial
appearance. The female’s façade,
body, and bosom are “playful” and
indicating a pretense of sexual
promise.

Una chula i (La MadrileÑa)

1885
 Una chula ii 1885

This shows woman is sitting

squarely with arms resting on a
chair, a pose that “almost mannishly
exuding sexual confidence and
worldliness”. The woman is holding
a lit cigarette between two fingers in
a flirtatious way. The burning tip of
the cigarette acts as an
enhancement to the female’s
“painted lips” that supports a “slight
smile”. The woman is gazing
towards the viewer of the painting
unembarrassed suggesting a
persuasive provocation.
 Juan
Luna,
España y
Filipinas,
1886,
Lopez
Juan Luna, Museum.
La madre
España
llevando a su
hija Filipinas
al progreso,
1885,
Ayuntamient
Juan Luna, o de Cádiz.
España y
Filipinas,
1884,
National
Gallery
Singapore.
EspaÑa y Filipinas 1886
The Spaniard woman was drawn with “wide strong
shoulders” while the Filipino woman was illustrated as
“graceful” and brown-skinned. Both were wearing female
dresses known as traje de mestiza or "dress of the
mestiza". The dressing of the women in traje de mestizas
shows the cultural character, class consciousness, and
social transformations resulting from 19th century
Hispanization. Both women have their backs to the viewer,
heading towards a far-away horizon, while embarking on
the steps of a staircase. Side by side in the painting, Spain
was shown to be leading the Philippines along the path to
progress and development.It is further described as a
painting that once linked the colonized with its former
colonists, a "bucolic allegory" of the master and the servant
"walking hand in hand".
 EL
PACTO
DE
SANGRE
1886

Portrays the 1565

Sandugo (blood compact
ritual) between Datu
Sikatuna of Bohol and
Miguel López de Legazpi,
surrounded by other
conquistadors. Datu
Sikatuna was described
to be 'being crowded out
of the picture by Miguel
López de Legazpi and his
fellow conquistadores'.
PORTRAIT OF A
LADY

This is said to be a portrait

of his wife, Maria de la Paz
Pardo de Tavera, holding a
rosary and is rumored to be
cursed.
 La
Mestiza,
1887,
Biblioteca
Museu Víctor
Balaguer

Alternatively
named as Charing.
Coincidentally, this
alternate title is
the nickname of
Luna's sister-in-
law Rosario
Melgar.
 Juan Luna,
The Death of
Cleopatra,
1888, Museo
del Prado.
 Juan Luna,
Odalisque,
1885, Don
Louis
Araneta.
Juan Luna,
La Odalisca,
1885,
Biblioteca-
Museo Victor
Balaguer.
Portrait of Jose
Rizal, 1891,
Tony and
Cecile
Gutierrez
collection.
 Juan Luna, Doña
Victorina and Don
Tiburcio Espadaña
(sketch for Noli Me
Tángere), 1892, Mariano
Cacho collection.
Juan Luna, The
Feast at Cana, circa
1882, private
collection.
Juan Luna,
Sketch of
Félix
Resurrección
Hidalgo at
work, not
dated,
Eleuterio
Pascual
collection.
 Felix
Resurreccion
hidalgo

Photograph of
Félix
Resurrección
Hidalgo in his
studio, not
dated, Ambeth
Ocampo
collection.
Las Virgenes Cristianas Expuestas al Populacho
1884
Medium: Oil on canvas
Dimensions: 115 cm × 157 cm
(45 in × 62 in)
Location: On loan to the National
Gallery Singapore
 Portrays two scantily clothed Christian female slaves being mocked by a group of boorish Roman
male onlookers. One of the women is posed seated naked at the foreground of the painting with her
"head bowed in misery. The semi-nude women have been stripped not only of their garments but
also of their dignity. Created in the academic style of Europe, the unfortunate women in the artwork
are considered by some indigenous Filipinos as virgins "being led out, stolen from, and ridiculed".
The women are young virgins cornered by a mob of "sexually hungry" Roman men. One of the men
has his hand over one semi-naked female whose eyes are "looking up to heaven" asking and
begging for "help that never comes".

Las Virgenes Cristianas Expuestas al Populacho

 According to some history books, Governor-General
Bustamante, in an effort to run a clean government
clashed with the Archbishop of Manila named Fernando
dela Cuesta, who had a habit of protecting the corrupt
government officials. Because of the Archbishop's actions,
Bustamante had the the former detained, which roused
violent reactions from the clergymen. To show their
support for their Archbishop, Franciscan, Dominican and
Augustinian friars all gathered together and headed to the
Palacio del Gobernador and began a rampage.

Félix Resurrección Hidalgo, Study for The Assassination

of Governor Bustamante, 1904, Leandro Locsin/National
Museum collection.
La Barca de
Aqueronte,
1893, Eugenio Lopez
Foundation collection.

Translated as Charon’s Boat,

it is Hidalgo’s interpretation of
damned souls journeying
across the River
Acherontowards the gates of
hell or Hades. The protagonist
of the painting is the boatman
of classical mythology
named Charon, who is
depicted as the personification
of the merciless harvester of
condemned souls with "eyes
of coal" glaring forebodingly
from the shadows at the
boarding commuters.
 LA LAGUNA ESTIGIA 1887

Translated as The River Styx, it is a companion-piece for

Hidalgo’s other painting entitled La Barca de Aqueronte. Like
the La barca, the La Laguna Estigia is based on Dante's
Inferno, the painter pursuing the theme leading towards a
“darker” and “more somber interpretation” of it.
La Parisienne 1889

The painting depicts a woman

holding an umbrella known as
the parasol, a theme similar to
Juan Luna's La Madrileña It
was created by Hidalgo in the
impressionist style employing a
"light palette". It shows
Hidalgo's versatility and unique
talent in using a "different color
palette and style" which
deviates from his trademark as
a "conventional epic painter“.
Félix Resurrección
Hidalgo, Portrait of Nelly
Bousted’s Mother, or
Ensimismada (Lost in
Thought), 1887.
 Félix
Resurrección
Hidalgo, Portrait
of the Artist’s
Mother, 1897,
Bangko Sentral
ng Pilipinas
Collection.
Félix Resurrección
Hidalgo, Bank of
the Pasig River,
Manila, 7 March
1876
Félix Resurrección
Hidalgo, Banks of
the Pasig River,
Manila, 11 March
1876
Félix Resurrección Hidalgo y Padilla,
Pescador de Sacag, 1875, Museo del
Prado.
 Félix Resurrección
Hidalgo y Padilla, La
vendedora de lanzones,
1875, Museo del Prado.
http://opac.filipinaslibrary.org.ph/cgi-bin/koha/opac-
detail.pl?biblionumber=17422&shelfbrowse_itemnumber=821490
Read more: http://newsinfo.inquirer.net/379347/start-visita-in-betis-
pampanga#ixzz5LKUD9SEt
http://www.gmanetwork.com/news/opinion/content/18
8934/save-the-paete-murals/story/
https://discoveringpaete.wordpress.com/infrast
ructures/san-santiago-apostol/paetenians-work-
of-art/
http://pupuplatter.tumblr.com/page/20
https://en.wikipedia.org/wiki/Odalisque_(painting)
https://en.wikipedia.org/wiki/Las_Damas_Romanas
https://en.wikipedia.org/wiki/Las_Virgenes_Cristianas_Ex
puestas_al_Populacho
http://masterpieces.asemus.museum/
masterpiece/detail.nhn?objectId=1215
3
https://en.wikipedia.org/wiki/Chula_series
https://en.wikipedia.org/wiki/La_Madril
e%C3%B1a_(En_el_Balcon)
https://en.wikipedia.org/wiki/The_Blood_Co
mpact
http://philurbanlegends.blogspot.com/2015/
11/the-cursed-juan-luna-painting.html
https://en.wikipedia.org/wiki/La_Laguna_Estigia
https://en.wikipedia.org/wiki/La_barca_de_Aq
ueronte
https://en.wikipedia.org/wiki/Dami%C3%A1n_Do
mingo
Dempas a Kanter/Bedcovers,
Abaca, Maranao, 19th
century, Museum of Fine
Arts, Boston
Handkerchiefs, Piña, 19th
century, Museum of Fine Arts,
Boston
“Native hat, Province of
La Laguna. Colonel H.H.
Bandholtz P.C..” 19th c.,
private collection.
“Moro
Helmet,” early
19th c., private
collection.
“Moro” armor, 19th
c., private collection
Francisco de
Goya, “La
Junta de
Filipinas,”
1815, Musée
Goya.