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Fernando Amorsolo y Cueto (May 30, 1892 – April 24, 1972) was a portraitist and painter of rural Philippine landscapes. Nicknamed the "Grand Old Man of Philippine Art," [2] he was the first-ever to be recognized as a National Artist of the Philippines. [3]
During this time, Filipinos adapted to American culture and to American theatrical standards. One influence from the occupation is the development of the performance form called bodabil [ 1 ] which is the vernacular equivalent of "vaudeville."
The history of the Philippines from 1898 to 1946 is known as the American colonial period, and began with the outbreak of the Spanish–American War in April 1898, when the Philippines was still a colony of the Spanish East Indies, and concluded when the United States formally recognized the independence of the Republic of the Philippines on ...
The hidden meaning to this art piece is that he wanted to show how having the western look/American look was a Filipino American’s dream, to look like the people on TV as well as be like them. [4] Paul wanted to depict it like this because it shows how the wigs are everywhere but also is a metaphor because while people were so obsessed with ...
The structure is the only remaining example of the French Renaissance architecture with Filipino stylized Beaux-Arts architecture in the Philippines to date. Other notable American Architects in the Philippines was William E. Parsons (a consulting architect trained by Daniel Burnham) who is known for the Manila Hotel, The Mansion, Baguio and ...
The American occupation in 1898 introduced a new breed of architectural structures in the Philippines. This led to the construction of government buildings and Art Deco theaters. During the American period, some semblance of city planning using the architectural designs and master plans by Daniel Burnham was done on the portions of the city of ...
Brenda Fajardo (February 18, 1940 – September 14, 2024) was a Filipino art teacher, visual artist, and printmaker. Her work centered on social issues, women's issues, and the colonial history of the Philippines, with focus on the "aesthetics of poverty and the art of the people".
Amorsolo was an enthusiast of both classical and modern-day forms of art. During the 1930s, he drew and painted may editorial illustrations for Philippine magazines such as the Graphic, Tribune, La Vanguardia, Herald, and Manila Times. He became one of the causes for the rise of the so-called genre art in the Philippines, because he weaved ...