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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.
Letras y figuras (Spanish, "letters and figures") is a genre of painting pioneered by José Honorato Lozano during the Spanish colonial period in the Philippines. The art form is distinguished by the depiction of letters of the alphabet using a genre of painting that contoured shapes of human figures, animals, plants, and other objects called ...
Notable 19th-century oil paintings include Basi Revolt paintings, Sacred Art of the Parish Church of Santiago Apostol (1852), Spoliarium (1884), La Bulaqueña (1895), and The Parisian Life (1892). [230] A notable modern painting s The Progress of Medicine in the Philippines (1953). [230] After World War II, paintings were influenced by the ...
The painting depicts an old woman and a young man digging for camote (sweet potato). [2] Camote Diggers is a 1969 oil on canvas work measuring 88 cm × 149 cm (35 in × 59 in). [ 3 ] A smaller and finished version of Camote Diggers exists – an oil on canvas artwork which measures 27 cm × 38 cm (11 in × 15 in) and is also dated 1969.
Filipino Struggles Through History, alternatively known as the History of Manila is a series paintings which depicts select events from Philippine history. [6] It composes of 10 canvas panels collectively measuring 2.7 meters (8.9 ft) high and 79.4 meters (260 ft) wide.
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Tipos del País by Justiniano Asuncion Another set of Tipos del País works by Justiniano Asuncion. Tipos del País, literally meaning Types of the Country, is a Filipino Miniature painting [1] of watercolor method that shows the different types of inhabitants in the Philippines in their different native costumes that show their social status and occupation during colonial times.
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.