Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
(1892-1972)
Fernando Amorsolo was born on May 30, 1892 in Calle Herran in Paco, Manila
to Pedro Amorsolo and Bonifacia Cueto. Although born in the nation’s capital,
Amorsolo would spend most of his childhood in the small town setting
of Daet in Camarines Norte where his love for the simple rural life would become the
foundation for his artistic output for which he is most well-known.
Amorsolo’s earliest memories would bring him back to a quiet life in the
countryside. When he was only seven months old, his father moved the family to Daet to
work as a bookkeeper for two abaca firms. Pedro was able to earn a modest income,
enough to keep his family comfortable.
Fernando showed early signs of his artistic talent. He would go out to the coast to
draw pictures of the ships by the wharves. It was his mother who recognized the young
Amorsolo’s talent. She would send her son’s drawings to her cousin Fabian dela Rosa,
a prominent painter in Manila. At this early age, Amorsolo displayed an affinity for the
rural landscape --- a reflection of his own small world.
Tragedy struck early in Amorsolo’s life. One night, when Fernando was still very
young, his father was awakened by shouts coming from outside his window. It was the
head of the revolutionary movement fighting against the Spaniards demanding that
Amorsolo’s half brother, the eldest son Perico, join the group. Against his father’s
wishes, Perico relented and went down to join the rebels. The family never saw him
again. After the failure of the 1896 uprising, neighbors told the family that they saw
Perico, bound with a bamboo pole strapped to his back, being taken to jail. He was later
executed by the Spaniards. Shattered with grief by the death of his son, Amorsolo’s father
Pedro never recovered from the ordeal and died of a heart attack a few years later.
Amorsolo’s penchant for depicting an idealized world is viewed by his critics as the
work of someone who has never experienced pain in his life. It is apparent that the artist’s
preference was not due to a lack of exposure to the ills of society but to a conscious effort
to hang on to what is pure and good before the harsh realities of the world shattered his
peaceful life in the countryside.
His father died when Amorsolo was eleven years old. Before he passed away,
Pedro made his wife promise to give Fernando a proper art education. The widowed
Bonifacia gathered her family and returned to Manila in hopes of finding better prospects
to provide for her family. Her cousin Don Fabian dela Rosa opened his doors to the
family. It was here that Amorsolo had his first real exposure to the art world.
To make ends meet, Bonifacia did embroidery to feed her family. Fernando made
himself useful by assisting Don Fabian in his studio. It was during this time that Amorsolo
received his first art instruction from Don Fabian. The family’s limited financial means
made it difficult for the artist to receive consistent formal art instruction. He earned money
the only way he knew how. Amorsolo drew sketches and sold them for 15 centavos a
piece to help his family and to pay for his schooling. Despite the family’s financial
difficulties, in 1914, he finally earned his degree, with honors, as a member of the first
graduating class of the University of the Philippines School of Fine Arts.
Amorsolo lived during a turbulent time in the Philippines. He came of age during
a transition period in Philippine history. The former Spanish colony became a territory of
the United States of America. As American influence slowly crept into Filipino culture in
the bigger cities, the artist yearned for the life he knew during his early childhood days in
Daet. This clearly manifested itself in his artistic output where he clearly showed a
partiality towards the rural setting where American culture was slow to trickle down. His
paintings would embody an affinity for the traditions and lifestyle he knew during the
Spanish era. His canvases were filled with scenes of fiestas, old churches and rituals
that were the legacy of the Philippines’ former colonial masters
In the period after the war, the artist resumed his rudely interrupted career. The
next two decades saw the blossoming of Amorsolo’s art. He went back to painting the
bright sun-drenched countryside scenes for which he was most well-known. He reached
the peak of his popularity in the late 1940’s and 1950’s garnering numerous awards and
citations along the way. Amorsolo was widely recognized as the most influential artist of
his time.
The end of the war saw the Philippines gain its independence from the United
States. As a young republic it was seeking its own national identity. Amorsolo’s work
was naturally seen as the embodiment of a Filipino culture unique from that of the new
country’s former colonial masters. His genre paintings were in such high demand that he
catalogued his works. Prospective clients would choose the painting they wanted. The
artist then painted a different version of the chosen subjects.
Amorsolo’s prodigious output was helped in no small way by the speed with which
the artist was able to finish his work. His strokes were so sure and true that he was able
to finish a painting in a significantly shorter period of time. It is believed that the oil
paintings that he produced number into the thousands. If his drawings, sketches, and
studies are added, his total output was in excess of ten thousand pieces. At one point,
he was able to finish no less than ten paintings in a typical month. Part of the motivation
for this incredible pace was the need to support his large family.
The artist was roundly criticized for his machine-like efficiency. Furthermore, a
blossoming modern art movement, who considered Amorsolo the de facto leader of the
classical realist school, saw him as a natural target. He never raised his voice nor took
up the cudgel in his own defense yet he had no shortage of defenders who took up the
fight. Among his staunchest supporters was Guillermo Tolentino, the finest sculptor the
country ever produced and Amorsolo’s best friend. When asked why he did not speak
up in his own defense, the artist responded with a shrug and said that he had already
matured as an artist. He had nothing left to prove and was comfortable painting what he
wished in the form of expression that he chose. His customers stood by his side and
demand for his paintings remained high.
Amorsolo worked until the last year of his life. Age was starting to catch up with
him. He was afflicted with diabetes and arthritis in addition to his heart condition. His
eyesight was also beginning to fail him and he had to undergo a cataract operation. In
his later works, his compromised vision led to wayward brush strokes of red and blue
lines where a mound of earth should be. Despite these challenges, the quality of his
output remained at high levels and the popularity of his work never waned.
What were probably the most painful tragedies struck him in his later years. In
1964, his eldest son Fernando, Jr. died from asthma and tuberculosis. The artist was so
grief-stricken that he could not bear to attend his own son’s funeral. Seven years later in
1971, his youngest child Milo died in a car accident. The pain of having to bury two of
his children was too much for Amorsolo to bear. Five days short of a year after Milo died,
Amorsolo died of heart failure on April 24, 1972.
Amorsolo’s work continues to resonate among his countrymen decades after his
death. His portrayals of an ideal and beautiful world drew the most ardent praises and
the harshest criticisms. To understand the artist one has to appreciate the man behind
Amorsolo. He was shy, innocent, and most importantly pure. These traits spilled over
onto his canvas. It was not because Amorsolo was not capable of recognizing the dark
side of society. He had his share of heartbreak and disappointment in his life but he
deliberately isolated himself from these and chose to portray the bright side of the
world. Not a shred of wickedness permeated his character and as a result his art is the
purest manifestation of beauty. The basic desire to identify with what is good is what
people inherently have in common with the artist. It is for this legacy that Amorsolo will
be most fondly remembered.