Massacre of the Innocents: A Criticism

Putting up together the pieces of our views and perceptions, the group's criticism has finally reached its entirety. The Massacre of the Innocents, a masterpiece created by Peter Paul Rubens, depicts an episode of the biblical story as related in the Gospel of Matthew. This work of art is an example of the Baroque painting because of its dramatic and emotive dynamism of the scene as well as the rich colour. It can also be considered as a product of expressionism since the painting expresses an intensity of feelings and emotions. This portrait has its subject appear tp be immensely close that the space became somehow limited.

It is an oil painting made in a canvas which texture appears to be smooth considering the fact that the combination of colors are well coordinated. The painting truly unfolds the artist's consistent observation of the works of Italian Baroque painters like Caravaggio. The dramatic scene presented and the use of rich colors in the painting truly reflects that influence.

The colors as well as the life still image bring forth harmonious or satisfying arrangement. The balance of the image is actually informal for which the subject (people) moved sideways to the right. Its perspective is absolutely critical in a sense that the painting provides underlying structure.

Its source of light was coming from an artificial light from the left side. The light was actually soft and dramatic which definitely affects the mode of the subject, perhaps brought about by the scenario. The light provides great realization of the tensional emotion of the painting. The light used by Rubens provides a much of reality. The reason behind that was the light touches the movement of the object in order to be brilliant. There are hard edges in the painting, like for instance, the back image which serves as the background of the subject. It was not well lit because the light is only centered in the subject (people).

Another reason behind the enormous popularity of the painting is the use of Chiaroscuro, a great contrast between light and dark color. The colours used were very clear and its temperature seems to be appropriate for the subject. They are much of a brilliance since Rubens actually used a palette in mixing colors for the colors are well-combined. Including the fact that the lights are well reflected to the subjects and it is enough to understand the very essence of the painting.

The painting, Massacre of the Innocents, was definitely creative and full of energy compared to the subjects of other artist works. It is so easy to compare a brilliant work of an artist, but of course, there are times it is of so much difficulties but you can actually see the difference.

Staring at this painting for quite some time stirs up a certain feeling within us. Maybe because Ruben's work of art was filled with so much emotions. Pain. Struggle. Life. This is remarkably a masterpiece that spells brilliance. :)

National Artists of the Philippines

Abdulmari Asia Imao

He is a native of Sulu, is a sculptor, painter, photographer, ceramist, documentary film maker, cultural researcher, writer, and articulator of Philippine Muslim art and culture.Through his works, the indigenous ukkil, sarimanok and naga motifs have been popularized and instilled in the consciousness of the Filipino nation and other peoples as original Filipino creations.His U.P. art education introduced him to Filipino masters like Guillermo Tolentino and Napoleon Abueva, who were among his mentors.With his large-scale sculptures and monuments of Muslim and regional heroes and leaders gracing selected sites from Batanes to Tawi-tawi, Imao has helped develop among cultural groups trust and confidence necessary for the building of a more just and humane society.

In his nomination papers, Imao is described as having helped Tausugs, Maranaos, Cordillerans, T’bolis and other indigenous peoples “develop their art by introducing techniques and promote efficiency and economy in the use of indigenous materials in all aspects of the brass making process, as in the making of moulds and ornamentation.”

Organizations which endorsed him include the prestigious Mindanao State University’s Singing Kambayoka, Al-Mujadillah Development Foundation and Marawi Academy Foundation Cultural Troupe. He was also endorsed by Ninoy Aquino Public Service Awardee Yasmin Lao and Dove Awardee Baicon Cayongcat-Macaraya.

His works have been featured in Philippine and international publications, including the University of the Philippines Islamic Center Magazine, Arts of Asia Magazine, International Sunburst Magazine, Encyclopedia of World’s Art and Encyclopedia Americana, London’s Arts and the Islamic World Magazine.

Imao was honored with a Gawad CCP (Cultural Center of the Philippines) sa Sining Award in 1990, the second highest recognition in culture and the arts and the Presidential Medal of Merit for his contribution to Philippine culture and arts last year.

Selected works:
Industry Brass Mural, Philippine National Bank, San Fernando, La Union
Mural Relief on Filmmaking, Manila City Hall
Industrial Mural, Central Bank of the Philippines, San Fernando, La Union
Sulu Warriors (statues of Panglima Unaid and Captain Abdurahim Imao), 6 ft., Sulu Provincial Capitol

Jose T. Joya

He is a painter and multimedia artist who distinguished himself by creating an authentic Filipino abstract idiom that transcended foreign influences. Most of Joya’s paintings of harmonious colors were inspired by Philippine landscapes, such as green rice paddies and golden fields of harvest. His use of rice paper in collages placed value on transparency, a common characteristic of folk art. The curvilinear forms of his paintings often recall the colorful and multilayered 'kiping' of the Pahiyas festival. His important mandala series was also drawn from Asian aesthetic forms and concepts.

He espoused the value of kinetic energy and spontaneity in painting which became significant artistic values in Philippine art. His paintings clearly show his mastery of 'gestural paintings' where paint is applied intuitively and spontaneously, in broad brush strokes, using brushes or spatula or is directly squeezed from the tube and splashed across the canvas. His 1958 landmark painting Granadean Arabesque, a work on canvas big enough to be called a mural, features swipes and gobs of impasto and sand. The choice of Joya to represent the Philippines in the 1964 Venice Biennial itself represents a high peak in the rise of the modern art in the country.

GRANADEAN ARABESQUE

ABSTRACT PAINTINGS BY JOYA

Joya also led the way for younger artists in bringing out the potentials of multimedia. He designed and painted on ceramic vessels, plates and tiles, and stimulated regional workshops. He also did work in the graphic arts, particularly in printmaking.

SELECTED ARTWORKS:

Beethoven Listening to the Blues
Space Transfiguration
Hills of NikkO
Abstraction
Dimension of Fear
Naiad
Torogan
Cityscape

ANG KIUKOK

Born to immigrant Chinese parents Vicente Ang and Chin Lim, Ang Kiukok is one of the most vital and dynamic figures who emerged during the 60s and continues to make an impact up to the present. As one of those who came at the heels of the pioneering modernists during that decade, Ang Kiukok blazed a formal and iconographic path of his own through expressionistic works of high visual impact and compelling meaning.

He crystallized in vivid, cubistic figures the terror and angst of the times. Shaped in the furnace of the political turmoil of those times, Ang Kiukok pursued an expression imbued with nationalist fervor and sociological agenda.

Some of his works include: Geometric Landscape (1969); Pieta, which won for him the bronze medal in the 1st International Art Exhibition held in Saigon (1962); and the Seated Figure (1979), auctioned at Sotheby’s in Singapore.

His works can be found in many major art collections, among them the Cultural Center of the Philippines, National Historical Museum of Taipei, and the National Museum in Singapore.
Ang Kiukok died on May 9, 2004

SOME OF ANG KIUKOK'S ARTWORKS...

"GEOMETRIC LANDSCAPE"

"THE CYNIC, THE IDEALIST"

"MOTHER AND SON"



"CRUCIFIXION"

CESAR LEGASPI



A pioneer "Neo-Realist" of the country, Cesar Legaspi is remembered for his singular achievement of refining cubism in the Philippine context. Legaspi belonged to the so-called "Thirteen Moderns" and later, the "Neo-realists". His distinctive style and daring themes contributed significantly to the advent and eventual acceptance of modern art in the Philippines. Legaspi made use of the geometric fragmentation technique, weaving social comment and juxtaposing the mythical and modern into his overlapping, interacting forms with disturbing power and intensity.

SOME OF HIS ARTWORKS:

REFERENCES:

http://www.ncca.gov.ph/about-ncca/org-awards/viual-arts/abdulmari_isao.php

http://www.ncca.gov.ph/about-ncca/org-awards/viual-arts/jose_joya.php

http://www.ncca.gov.ph/about-ncca/org-awards/viual-arts/ang_kiukok.php

http://www.ncca.gov.ph/about-ncca/org-awards/viual-arts/cesar_legaspi.php

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