Timeline of Philippine Art

Introduction
The National Museum, in pursuance of its mandate of preserving and protecting National Cultural Treasures and
important cultural properties of the nation, maintains a reference collection on the visual arts through the Arts Division.
This entire art collection constitutes a large portion of the artistic patrimony of the nation and one of our legacies to the
coming generations. Now totaling 1,032, the collection is composed of easel paintings, sculptures, icons, sketches and
mixed media, and span the 18th century to the late 21st century. All are inventoried, accounted for and certified by the
Commission on Audit. However, there are artworks in the collection that are still undergoing accession proceedings. The
Division undertakes and supervises the periodic inspection and maintenance under the supervision of an art conservator.
The visual art collection of the National Museum serves as a perpetual chronicle of the development of Philippine art and
a showcase of the achievements and aspirations of Filipino visual artists. One can also refer to the collection for topics
ranging from Philippine history and natural landscapes to social concerns and personal expressions. The 15 artworks
featured in this handbook were chosen as a representative sample of the best artworks created by unknown artists of the
18th century, 19th century masters, national artists for the visual arts as well as the leading contemporary painters and
sculptors. The uniqueness of the style, the prestige of the artist, and the significance of the artwork in the development of
Philippine art are the primary criteria in the selection.

18th Century

Earliest among the collection are religious in themes and composed of 18th century icons and images created by local
artisans under the tutelage of the friars. The devotional pieces of the collection are of outstanding significance.
The painting depicts the Blessed Virgin Mary ceremoniously crowned by God the Father, God the Son, and God the Holy
Spirit, in the form of a dove, as queen of heaven and earth.

The theme replicates the 5th Glorious Mystery of the Holy Rosary and the Litany. It is one of the oldest artwork in the visual
arts collection. As a form of praise to the Blessed Virgin Mary, the theme is also used as a figure title, “Reyna de los Cielos”, in
the traditional May-time festival, the Santacruzan.

An extremely rare icon belonging to the primitive school of Philippine art. It is typical of the religious art produced during the
18th century for household use (devotional piece).

19th Century

During the late Spanish colonial period, the school of Academism or “salon” painting emerged and produced the likes of
Juan N. Luna and Felix Resurreccion Hidalgo, who are now considered as 19th century masters.

19th Century
Juan Luna
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.
The Spoliarium is the most valuable oil-on-canvas painting by Juan Luna, a Filipino educated at the Academia de Dibujo y
Pintura (Philippines) and at the Academia de San Fernando in Madrid, Spain. With a size of 4.22 meters x 7.675 meters, it is the
largest painting in the Philippines. A historical painting, it was made by Luna in 1884 as an entry to the prestigious Exposicion
de Bellas Artes (Madrid Art Exposition, May 1884) and eventually won for him the First Gold Medal.

Felix Hidalgo
In the painting Governor Dasmariñas, Hidalgo was able to expose the supremacy of the church over the Spanish government. A
good example of a historical painting, it depicts the figures of a Dominican friar dictating on Governor Dasmariñas, who seems
to be helpless, to sign a document allegedly authorizing the immediate military assistance to the king of Cambodia.

During the colonial period, the clergy was acknowledged as the power behind the government. There was no actual separation
between the church and the state. Felix R. Hidalgo, a contemporary of Juan Luna, was one of the primemovers in using the
visual arts in unmasking the true identity of the colonial rulers.

The artwork was formerly exhibited in the Malacañang Palace.

In the succeeding American period, Fernando C. Amorsolo, who was later declared as the First National Artist, rose into
fame and established his own style or “school” which was largely characterized by countryside scenery with golden
sunlight.
1900s
Graciano T. Nepomuceno
La Descencion de Jesus
The artwork in hi-relief is an interpretation of Reuben’s oil-on-canvas original. It depicts the moment when Christ was taken
down from the cross by Joseph of Arimathea in the presence of His disciples and Mother Mary. Noteworthy is the meticulous
rendition of several figures with anatomical and dimensional precision.

The relief is an interpretation of the 13th Station of the Cross as found in all Roman Catholic Churches. The Stations of the
Cross have been an educational forum for the Catholic Church to bring the Biblical events to the masses.

Graciano T. Nepomuceno was the leading sculptor and santero (icon maker) during the early 1900’s. He was the predecessor of
Guillermo Tolentino, National Artist, in the University of the Philippines.

2000 to present

Philippine art has come a long way, from the primitive ingenuity of the Filipinos to the present avante-garde artists
exploring all possible techniques and schools ranging from the traditionalists, representationalists, abstractionists, abstract
expressionists, semi-abstractionists, figurative expressionists, non-objectivists and other forms of -isms.
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GRADE 12-DIRECTOR
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 GRADE 12-STEM
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“EVALUATING THE SOLID WASTE MANAGEMENT
HABITS OF STUDENTS IN CALANIGAN NATIONAL
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BANNING TO THE ACADEMIC PERFORMANCE OF
SENIOR HIGH SCHOOL STUDENTS”
 GRADE 12-STEM
PRACTICAL RESEARCH 2
“EVALUATING THE SOLID WASTE MANAGEMENT
HABITS OF STUDENTS IN CALANIGAN NATIONAL
HIGH SCHOOL”

GRADE 12-STEM
PRACTICAL RESEARCH 2
“EFFECTS OF ADOPTING THE CELLPHONE
BANNING TO THE ACADEMIC PERFORMANCE OF
SENIOR HIGH SCHOOL STUDENTS”