JOSE T.

JOYA
BIOGRAPHY:
JOSE TANIG JOYA (b. Manila, June 3, 1931 d.
1996)
National artist Jose Joya was a pioneer
modern and abstract artist who was active as
a painter, printmaker, mixed-media artist and
ceramicist. It has been said that it was Joya
who spearheaded the birth, growth and
flowering of abstract expressionism in the
Philippines. His mature abstract works have
been said to be characterized by calligraphic
gestures and linear forces, and a sense of
color vibrancy emanating from an Oriental
sensibility. Joyas sense of color has been
said to have come from the hues of the
Philippine landscape, and his use of rice paper
in collages demonstrated an interest in
transparency.
Jose Tanig Joya was born on June 3, 1931, the
son of Jose Joya Sr. and Asuncion Tanig. He
began sketching at the age of eleven. At a young
age, he became interested in studying
architecture, but found that he did not have the
aptitude for the math and science that
architecture would require. While attending the
University of the Philippines he was introduced to
the paintings of Fernando Amorsolo, and began
his study of painting. He was initially schooled in
the traditional tradition in which the standards
had been set by Amorsolo and Tolentino but
gradually was influenced by American
abstraction and by the emerging trends in
Philippine modernism. He was mentored by
Guillermo Tolentino, Ireneo Miranda, Domindaor
Castaneda and Virginia Agbayani.
Abstractionist Jose T. Joya was
posthumously proclaimed a National
Artist by President Gloria Macapagal-
Arroyo on May 26, 2003.
Joya, named as a National Artist for
Visual Arts, was cited because his
art constitutes an important landmark
in the development of Philippine
modern art. His legacy is a large body
of work of consistent excellence
which has won the admiration of
artists both in the local and the
international scene.
Joya graduated from the University of the
Philippines (UP) in 1953 with a Bachelors Degree
in Fine Art, earning the distinction of being the
universitys first Magna cum Laude. In 1954 the
Instituto de Cultura Hispanica of the Spanish
government awarded him a one year grant to
study painting in Madrid. Travel/study
scholarships to Madrid which came about
through the influence of PAG member Fernando
Zobel de Ayala were also given to other PAG
artists including Arturo Luz, Nena Saguil and
Larry Tronco. After returning from Spain, Joya
finished his Masters Degree in Painting in 1956
at the Cranbrook School of Art in Michigan, with
the assistance of a Fulbright Smith-Mundt grant.
His early works were representational paintings
that showed the influence of Vincente Manansala
and Anita Magsaysay-Ho. During the late 1950s, as
he became involved in the Philippine Art Gallery
founded in 1950 by a group of women writers led
by Lyn Arguilla he became one of the new
wave of artists who developed abstract paintings.
His first one make show appeared at the Philippine
Art Gallery in 1954, and in March of 1958 he won
first prize for his non-objective Painting in the
11th Annual PAG Art Exhibition, held at the
Northern Motors Showroom. He won more prizes in
1959 (Second place for Space Transfiguration),
1960 (Third place for Horse of Life) and 1962
(Third place for Cathedral).
Joya was often present a the Saturday Group
which met for weekly art discussions at the Taxa
de Oro Restaurant in Manila. In 1962, when Joya
was serving as the President of the Art
Association of the Philippines, he and Napolean
Abueva represented the Philippines in the
prestigious Venice Biennale: it was the first time
that the Philippines had participated. He displayed
a 1958 horizontal abstraction titled Granadian
Arabesque, a painting which features powerful
swipes of impasto mixed with sand, and which is
now in the collection of the Ateneo Art Gallery.
Joya later wrote about participating in the
Biennale, and reported on the novelty, desire to
shock and dazzle of the work on view.
In the late 60s received grants from the John D. Rockefeller
III Fund and the Ford Foundation, which allowed him to paint
and study at the Pratt Institute in New York between 1967
and 1969. Among the positions he held were:
President of the Art Association of the Philippines (AAP)
1962-65
Dean of the UP College of Fine Arts 1970-78, where he
modernized curriculum and established scholarships.
Chairperson of Philippine Delegations to China, 1961 and
1972
In the 1970s Joya executed two large murals, Lanterns of
Enlightenment and Mariveles which display vivid interplays
of shape and tone. When traveling overseas he often made
rapid, on the spot sketches in pencil, charcoal or pastel.
Joya was also a holder of the Amorsolo Professorial Chair in
UP in 1985. He served as chairperson of the National
Committee on Visual Arts, of the National Commission on
Culture and the Arts from 1987 until his death.
In 1981 a retrospective of some 200 of Joyas works was held
at the Museum of Philippine Art. In1987 the French
government awarded him membership in the Order of
Chevalier des Arts et Lettres.
In creating an art work, Joya once stated the
artist is concretizing his need for communication.
He has an irresistible urge to reach that level of
spiritual satisfaction and to project what he is and
what he thinks through his work.
Joya died in May of 1995 at the age of 63 after
complications from a prostate operation.
In 2003, eight years after his death, he was
conferred the title of National Artist for his
pioneering efforts in developing Filipino abstract
art. A retrospective of his work was held in August
of 2011 at the National Museum.
WORKS:

Granadean Arabesque (1958)

Hills of Nikko
Dimension of Fear
Beethoven Listening to the Blues
Space Transfiguration
Torogan
Abstraction
Nanking
Biennial (1964)
Naiad
AWARDS:
He was awarded a Fulbright-Smile-
Mundt grant which enabled him to
pursue a master's degree in Fine Arts in
1956-57
He won several awards and distinctions,
including: The Ten Outstanding Young Men (TOYM)
award for Painting and the Republic Cultural
Heritage Award, both in 1961; the Patnubay ng
Sining at Kalinangan Award from the City of
Manila, 1971;
finalist for An Abstraction of Strength and
Refinement in the Mobil Foundation competition,
1980; first prize for Gossips in the 1952 Shell
National Students Art Competition, 1952; the
ASEAN Cultural Award, 1970; and the Gawad CCP
para sa Sining, 1991.
His awards from the Art
Association of the Philippines
include: first prize, Cathedral,
1958; second prize, Space
Transfiguration, 1959; third
prize, City Entering the Edge of
Sundown, 1951; third
prize, House of Life, 1960;
purchase award, Church Silver,
1960; second prize, Cathedral,
1962; and honorable
mention, Yellow Harvest, 1962
Carlos V. Francisco
Carlos V. Francisco ((Nov. 4, 1912-March
31, 1969) was born and raised in Angono,
Rizal. He was affectionately called
Botong by his family and friends.
Botong spent his college years at the
University of the Philippines School of Fine
Arts and during those days, specifically in
1959 he was the recipient of a Most
Outstanding Alumnus award that gave an
honour to his alma mater. On the contrary,
he did not finish his degree and was forced
to work. Later on before the war, he
became a professor at the University Of
Santo Tomas School Of Architecture and
Fine Arts.
Botong Francisco single-handedly revived
the forgotten art of mural and remained its
most distinguished practitioner for nearly
three decades. He was best known for his
works which evidently depicted some of
the countrys impactful historical
moments. His pieces evoke a feel of our
culture and tradition with vibrant colors
and hues that capture his
audience. Restorer Helmuth Josef Zotter
once said that Botongs art is a prime
example of linear painting where lines and
contours appear like cutouts.
He was one of the first Filipino
modernists who revolutionized art
and deviated Fernado Amorsolos
romanticism of Philippines
scenes. His works certainly attest
his flawless skill in painting; some of
whichare Blood Compact, First Mass
at Limasawa, The Martyrdom of
Rizal, Bayanihan, Magpupukot,
Fiesta, Bayanihan sa Bukid, Sandugo,
Portrait of Purita, The Invasion of
Limahong, Serenade and Muslim
Bethoral.
Botong also spearheaded in the discovery
of the popular Angono Petroglyphs in
1965. He also had a brief stint in designing
costumes for Philippines cinema. This year
2012, together with many institutions and
museums, Freeway celebrates Botong
Franciscos 100th Anniversary.
He was rewarded as the National Artist for
Painting, considered as the greatest
muralist of the country and 1964 Republic
of the Philippines Cultural Heritage
awardee. Hailed as Philippine National
Artist for Visual Arts in 1973.
WORKS:
Bayanihan sa Bukid
Magpupukot
The Martyrdom of Rizal
Portrait of Purita
The Invasion of Limahong
First Mass at Limasawa
Bayanihan
Blood Compact
Fiesta
Sandugo
AWARDS:
He was the second Filipino
who received the title of National
Artist in Painting in 1973
first prize for his work "Kaingin"
at the annual Art Association of
the Philippines
Most Outstanding Alumnus" in
1959
Republic Cultural Heritage Award
in 1964.
GUILLERMO TOLENTINO
BIOGRAPHY:
Guillermo Estrella Tolentino (July 24, 1890
July 12, 1976) was a Filipino sculptor and
professor of the University of the Philippines. He
was designated as a National Artist of the
Philippines for Sculpture in 1973, three years
before his death.
Tolentino was born on July 24, 1890
in Malolos, Bulacan. He was the fourth child
in his family and had seven siblings. Before
being interested in sculptures, he learned how
to play the guitar, a skill which he inherited
from his father. The young Tolentino showed
an early talent in sculpting, having been able
to mold figures of horses and dogs out of clay.
 Tolentino started studying in Malolos Intermediate
School and continued his high school years in the same
city. After studying in Malolos, Tolentino went
to Manila and attended classes in the School of Fine Arts
of the University of the Philippines.
In 1911, Tolentino made an illustration of prominent
Filipinos posing for a studio portrait. Among those
included were national heroes, revolutionaries, and
politicians.[5] The illustration was lithographed and
published in a weekly magazine called Liwayway under
the name "Grupo de Filipinos Ilustres" and became
popular among homes in the 20th century. Tolentino, a
student at the university when he made the illustration,
didn't earn any money from it but didn't seem to mind
about it.
Tolentino graduated in 1915 with a degree in Fine Arts
 Tolentino, upon returning from Europe in 1925,
was appointed as a professor at the University of
the Philippines' School of Fine Arts and opened
his studio in Manila on January 24.[3][4]
Along with thirteen artists, Tolentino joined a
contest in 1930 to design the Bonifacio
Monument. Instead of basing the statues on
printed materials, he interviewed people who
participated in the Philippine Revolution.
Bonifacio's figure was based on the bone
structure of Espiridiona Bonifacio, the Supremo's
surviving sister.[6] Down to seven entries, the
committee had its winners by July 29.
Tolentino's entry won first place and was given a
cash prize of 3,000 pesos.[7]
 In 1935, Rafael Palma, president of the University
of the Philippines, commissioned Tolentino to
sculpt the Oblation, a statue based on the second
stanza of Jose Rizal's Mi ultimo adios. Tolentino
used concrete to create the statue but it was
painted to look like bronze.[8] The statue's model
was Anastacio Caedo, his assistant, whose
physique was combined with the proportion of
Virgilio Raymundo, his brother-in-law.[9]
The University of the Philippines Alumni
Association requested Tolentino on October 25,
1935 to construct an arch commemorating the
inauguration of the Commonwealth of the
Philippines but it was never built, because of the
war.
 In the absence of Fernando Amorsolo,
Tolentino was appointed acting director
of the School of Fine Arts and eventually
became its director two years later, on
August 4, 1953.[4]
Besides monuments, Tolentino made
smaller sculptures, which are now
located in the National Museum of Fine
Arts and busts of heroes at
the Malacaang Palace.[6] He also
designed the medals of the Ramon
Magsaysay Award and the seal of the
Republic of the Philippines.
WORKS:
Bonifacio Monument
UP Dilimans Oblation Statue
Medal for Ramon Magsaysay Award
Venus, 1951
Filipinas on Bondage
Bust of Monsignor Gregorio Aglipay
A small bust of Jose Rizal
UP Los Banos Alumni Plaza,1967
The News Boy
"Filipinos Illustres" paint
"The Lady" (Teodora Valenzuela Tiglao)
Guillermo Tolentino's works in Pasig City
Museum
AWARDS:
1959 UNESCO Cultural Award in
Sculpture
1963 Patnubay ng Sining at
Kalinangan Award
1967 Republic Cultural Heritage
Award
1970 Presidential Medal of Merit
1972 Diwa ng Lahi Award
1973 National Artist of the
Philippines for Visual Arts in
Sculpture
FEDERICO AGUILAR ALCUAZ
BIOGRAPHY:
Bornin Manila, National Artist Federico
Aguilar Alcuaz (June 6, 1932 February
2, 2011) was the sixth of eleven children
and took his primary and secondary
education at public schools.
Hepursued an Associate in Arts
degree at San Beda College in the
evenings and a Fine Arts degree at
the University of the Philippines in
the mornings.
 His professors at UP were National
Artists Fernando Amorsolo
(painting) and National Artist
Guillermo Tolentino (sculpture) as
well as other pillars of Philippine
art namely Toribio Herrera, Ireneo
Miranda, and Constancio Bernardo.
Then Alcuaz went on to take up
law at the Ateneo de Manila
University from where he
graduated in 1955.
 Then he decided to pursue art on a full
time basis embarking on a stellar career
and winning awards in major art
competitions in the Philippines and
abroad among them first prize at the 1953
UP Art Competition, first prize in the 1954
Annual Shell Art Competition and second
place at the UP Art Competition, also in
1954.
In 1955, he received a scholarship grant
from the Spanish Ministry of Foreign
Affairs to study at the Academia de Bellas
Artes de San Fernando in Madrid then he
later moved to Barcelona
 In Spain, he won first prize at the Premio
Moncada in 1957, the 1958 Prix Francisco
Goya in Bracelona, first prize at the
Pintura Sant Pol del Mar in 1961 and
second prize at the Premio Vancell at the
Fourth Biennial of Tarrasa in Barcelona in
1964.
Recognition for his art extended beyond
Spanish borders. In Paris, he was awarded
the Diploma of Honor at the International
Exhibition of Art Libre in 1961, the
decoration of Arts, Letters and Sciences
award from the French government 1964
and the Order of French Genius in 1964.
 In 2007, he was acknowledged by the Philippine
government with the Presidential Medal of Merit
award for his outstanding.

Alcuazs works are included in the collection of

some 20 museums and major cultural
institutions in the world today including the
Museum of Contemporary Art in Barcelona, the
Museum of Contemporary Art in Madrid, the
Gulvenkian Foundation Museum of London, the
Museum of Modern Art of Warsaw, the Musem of
Modern Art of Krakow, and the Philips Cultural
Museum of the Netherlands. ng
accomplishments in visual arts.
 In his 55 year career Federico Aguilar
Alcuaz has exhibited in leading galleries
in Spain, the Philippines, Portugal,
Poland, the United States and Germany.
His exhibit Federico Aguilar Alcuaz in
2007, the first anniversary show of
Galerie Joaquin Singapore, showcased
rare pieces from the artists early works
including 10 oil on canvas works and 10
of mixed media or watercolor. The
artworks were sourced from collectors in
Europe and the Alcuaz family collection,
these being some of the best from the
artists oeuvres.
 In2009, the Republic of the Philippines
through the National Commission on
Culture and the Arts (NCCA) and the
Cultural Center of the Philippines (CCP)
bestowed upon Federico Aguilar Alcuaz
(1932-2011) admission into the Order of
National Artists. This titan of Philippine
visual art was recognized for having
influenced an entire generation of artists
with a body of works that is critically
lauded both here an abroad. Aguilar
Alcuaz had the soul of an artist, attaining
the pinnacle of mainstream artistic
achievement
His complex and nuanced
personality the music lover,
the bon vivant, the astute
observer of the world around
him has cemented his legend
as an artist without peer.
Since His untimely death early
last February 2, 2011, His
masterpieces have gained even
more interest in this towering
figure.
WORKS:
Reveries Of Love
Still Life with Landscape

Panoramic View Of Manila

Manila 1968

Manila 1968 II

Abstract in Blue and Black

Tres Marias

Tap Room

Paisaje

Bodegn
AWARDS:
1st Prize, UPCFA Art Competition, 1953
1ST Prize, Roadside Squatters, 4th
SNSAC Modern Painting Category, 1954
1st Prize, Montcada Award Barcelona,
1957
Francisco Goya Award, Cercle
Maillol Barcelona, 1958
Republic Cultural Heritage Award, 1965

2nd Prize Prix Vancell, 4th Biennial of

Terrassa (Barcelona Spain),1964