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The Spoliarium is a painting by Filipino painter Juan Luna. Luna, working on canvas , spent eight months completing the painting which depicts dying gladiators. The painting was submitted by Luna to the Exposición Nacional de Bellas Artes in 1884 in Madrid , where it garnered the first gold medal (out of three). [ 1 ]
An oil on canvas painting measuring 1.15 m × 1.57 m (45 in × 62 in), Las Virgenes Cristianas Expuestas al Populacho is a "landmark painting" depicting the persecution of Christians in Ancient Rome. [3]
It is the result of an ancient and widespread practice (spoliation) whereby stone that has been quarried, cut and used in a built structure is carried away to be used elsewhere. The practice is of particular interest to historians, archaeologists and architectural historians since the gravestones, monuments and architectural fragments of ...
Hymen, oh Hyménée! is a history painting done in the historical realism style, which is closely associated with Luna's earlier notable works such as Spoliarium (1884) and The Death of Cleopatra (1881). This artwork portrays a scene from a Roman wedding ritual, specifically the moment when the bride is entering the groom's chamber.
España y Filipinas (“Spain and the Philippines") is a series of oil on wood paintings [1] [2] by Filipino painter, Ilustrado, and revolutionary activist, Juan Luna.It is an allegorical depiction [3] of two women together, one a representation of Spain and the other of the Philippines. [4]
La Madrileña (En el Balcón) is one of the paintings that illustrate Luna's inclination of making women an artistic theme, showing the artist's talent as an enthusiastic painter and observer of the fairer sex. La Madrileña (En el Balcón) is one of the few existing finished paintings that are regarded by art experts as a "legacy" from Luna. [1]
Filipino art experts, historians, and researchers have four theories on the identity of the sitter in Luna's La Bulaqueña despite the lack of any photographs. According to Emilio Aguilar Cruz, a columnist for the Philippine Daily Globe newspaper, the woman in the portrait could be a woman Luna had courted after losing his wife Paz Pardo de Tavera.
Las Damas Romanas is one of the early works of Luna as a painter that resurfaced in the past quarter of a century after being presumed to be either lost or missing. [5] [6] Before its reappearance in Paris many years before 2008, it had been documented only as a title and as a listed work of Luna in the 1957 biography of Luna written by Carlos E. Da Silva.