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Heritage management in the Philippines includes preservation measures by private and public institutions and organizations, and laws such as the National Cultural Heritage Act have aided the conservation of Filipino art. The act established the Philippine Registry of Cultural Property, the country's repository of its cultural heritage. [305]
Imao was named National Artist of the Philippines for Visual Arts in 2006. A Tausūg, Imao is the first Moro to receive the recognition. [1] Aside from being a sculptor, Imao is also a painter, photographer, ceramist, cultural researcher, documentary film maker, writer, and a patron of Philippine Muslim art and culture. [2] [3] [4]
Onib Olmedo (July 7, 1937 – September 8, 1996) was a Filipino painter acclaimed by critics as one of the major Filipino artists of the 20th century. Olmedo created a body of works that utilizes the expressionist technique of distortion to portray the inner torment experienced by modern man.
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]
By introducing modern ideas into the Philippine art scene, Victorio Edades managed to destroy the conventions of domestic art, and also got rid of the clichéd ideology he believed stunted the development of Philippine art. His defiance to what the Conservatives structured as ‘art’ was a conscious call for real artistic expression.
His paintings depict a nation in transition, an allusion to the new culture brought by the Americans. Manansala, together with Fabian de la Rosa, are among the best-selling Philippine artists in the West. He was a member of the prominent Cruz, Manansala, Lopez family clan.
Rey Paz Contreras was born in Parañaque, south of Manila, and grew up in a house by the railway tracks in the crowded urban district of Tayuman.When the railway company decided to replace the old wooden railroad sleepers, some of them 100 years old and severely damaged, Contreras bought the wood and began using it to create wooden objects.
The setting is also significant to Philippine culture as the couples are depicted to live in a traditional colonial Filipino house known as bahay na bato, with its iconic interior and structure fit for the tropical climate, while the woman is wearing the traditional Maria Clara gown of Filipino women.
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