II. PAINTING
Chapter XXIV
Form the Ruins. Barong–Barong and War Scenes.
During the war years, everybody had the intensified sense of survival and the
desire to resist the enemy to gain back his freedom. Even when actual actions were
done to translate all these substantially, still satisfaction was not fully attained. The
wishes left unfulfilled were only repressed. Now, when at last war ended, a particular
class of people found therapeutic outlet to their repressions in art.
Hence, amidst the war ruins of Rizal Avenue, Escolta and parts of Azcarraga, the artist
re-stirred and settled themselves in cubicles of Burt galvanized iron sheers, dismantled
crates and cardboards. They were set to sketch portraits, especially of American
soldiers, for a living. They were paid five dollars or so per drawing, irrespective of
whether there was any likeness or not between the model and the finished work. To the
artist, it was a season of plenty; and it lingered until the early months of 1946.
Afterwards, they resumed their regular work.
It was only normal for painters to pre-occupy themselves, when at work, with subjects
closest to them, with things that had left indelible scars to their sensibilities. Ruins,
barong-barongs, scenes of war and its brutalities; these gloomy and morbid subjects
were transcribed in the glowing and ebony canvases of the artists. In the initial
competitive exhibition of the newly founded Art Association of the Philippines in
November 1948, a scene depicting the prisoners of war camp in Capas. It was a faithful
portrayal of Filipino prisoners in their makeshift bamboo beds.
131
, Filth and dirt was clearly captured especially with the inclusion of scavenging flies
swarming all over. A painting which dealt with Japanese atrocities against the Filipinos
was awarded an honorable mention. It was a large entry with life-sized figures done by
Diosdado Lorenzo. Still another painting which elicited interest showed the ruin of the
Manila Cathedral, with barong-barongs cluttered around it.
After 1948 these scenes of atrocities and brutalities were replaced by more
cheerful even until about 1952. This was evident in later AAP exhibitions.
The Arty Association of the Philippines.
Before its formal founding in 1948, groundwork of the AAP had been prepared as early
as 1947 by a former art student, Mrs. PuritaKalawLedesma. She was assisted by a
young sculptor, A Pestano, and Candido. Alcantara of the University of the Philippines
School of Fine Arts. When finally organized, Mrs. Ledesma was elented president of the
Association.
The AAP, at first, did not have smooth sailing. In the first place, it was received
with skepticism by the older artists. They were afraid it might survive for not very long
like previous art association, These older artists, were referring to the Philippine
Association of Fine and Applied Arts (1938) and the AmponngMagandangSining (1926).
The letters, inspite ofits membership of poets, writers, “aficionados” and, of course,
painters, fizzled 1927. The president of the organization was Juan Pili, a Tailor; and
some of the members were Jose Corazon de Jesus ( JusengBatute ), the Tagalog poet;
Guillermo E. Tolentino, who had just returned form Europe; Fernando C. Amorsolo and
others. Much earlier, there was also the “AssocionInternacional de Artista” Founded in
1908, its life was also a short one.
The AAP, however, was destined to live longer. Two factors assured its perpetuity:
first, the dedicated service of its president and members and second, the holding of
annual exhibitions with monetary prizes.
With regards to these exhibitions and competitions, participation in them required
membership entrance into the association itself. Thus at least one week prior to the
deadline for submission
132
Chapter XXIV
Form the Ruins. Barong–Barong and War Scenes.
During the war years, everybody had the intensified sense of survival and the
desire to resist the enemy to gain back his freedom. Even when actual actions were
done to translate all these substantially, still satisfaction was not fully attained. The
wishes left unfulfilled were only repressed. Now, when at last war ended, a particular
class of people found therapeutic outlet to their repressions in art.
Hence, amidst the war ruins of Rizal Avenue, Escolta and parts of Azcarraga, the artist
re-stirred and settled themselves in cubicles of Burt galvanized iron sheers, dismantled
crates and cardboards. They were set to sketch portraits, especially of American
soldiers, for a living. They were paid five dollars or so per drawing, irrespective of
whether there was any likeness or not between the model and the finished work. To the
artist, it was a season of plenty; and it lingered until the early months of 1946.
Afterwards, they resumed their regular work.
It was only normal for painters to pre-occupy themselves, when at work, with subjects
closest to them, with things that had left indelible scars to their sensibilities. Ruins,
barong-barongs, scenes of war and its brutalities; these gloomy and morbid subjects
were transcribed in the glowing and ebony canvases of the artists. In the initial
competitive exhibition of the newly founded Art Association of the Philippines in
November 1948, a scene depicting the prisoners of war camp in Capas. It was a faithful
portrayal of Filipino prisoners in their makeshift bamboo beds.
131
, Filth and dirt was clearly captured especially with the inclusion of scavenging flies
swarming all over. A painting which dealt with Japanese atrocities against the Filipinos
was awarded an honorable mention. It was a large entry with life-sized figures done by
Diosdado Lorenzo. Still another painting which elicited interest showed the ruin of the
Manila Cathedral, with barong-barongs cluttered around it.
After 1948 these scenes of atrocities and brutalities were replaced by more
cheerful even until about 1952. This was evident in later AAP exhibitions.
The Arty Association of the Philippines.
Before its formal founding in 1948, groundwork of the AAP had been prepared as early
as 1947 by a former art student, Mrs. PuritaKalawLedesma. She was assisted by a
young sculptor, A Pestano, and Candido. Alcantara of the University of the Philippines
School of Fine Arts. When finally organized, Mrs. Ledesma was elented president of the
Association.
The AAP, at first, did not have smooth sailing. In the first place, it was received
with skepticism by the older artists. They were afraid it might survive for not very long
like previous art association, These older artists, were referring to the Philippine
Association of Fine and Applied Arts (1938) and the AmponngMagandangSining (1926).
The letters, inspite ofits membership of poets, writers, “aficionados” and, of course,
painters, fizzled 1927. The president of the organization was Juan Pili, a Tailor; and
some of the members were Jose Corazon de Jesus ( JusengBatute ), the Tagalog poet;
Guillermo E. Tolentino, who had just returned form Europe; Fernando C. Amorsolo and
others. Much earlier, there was also the “AssocionInternacional de Artista” Founded in
1908, its life was also a short one.
The AAP, however, was destined to live longer. Two factors assured its perpetuity:
first, the dedicated service of its president and members and second, the holding of
annual exhibitions with monetary prizes.
With regards to these exhibitions and competitions, participation in them required
membership entrance into the association itself. Thus at least one week prior to the
deadline for submission
132
