Chapter XV
Painters and Painting in the two decades. Genre persists.
Many yount painters of the nineteen thirties fell the influence of Amorsolo, who by
that decade had displaced de la Rosa in portraiture, and had also established himself
as the leading genre and landscape painter. Economically, this decade was much
betterthan the previous one as manisfested by larger volume of business,
estabksihment of bans and increased construction of new commercial buildings and
resdences. The improvement in the economy was a boon to astists in that people were
able to afford paintings to decorate their homes. Even those in the lower middle class
acquired paintings for their modest houses, and since most of them could not afford an
Amosolo, they patronized the works of young artists. However, these art patrons
preferredthe Amorsolo-style paintings. They had seen Amorsolo genres in exhibitions,
in reporductions in books, in magazines convers and incalendars. Faced with this
demand therefore, young artists of the nineteen thirties veered towards the style of
Amorsolo.However, not all of those who followed the trails of Amorsolo were mere
imitators. There were those who convinced of effectiveness and popularity of
Amoroslo's color, simply wanted to improve their own.
Jose Pereira (1901-1954) who did commercial art work with Amoroslo at the
Pacivif COmmercial Company was the very firstof his ofollowers. His landscapes had
the Amorosolo color to a certain degree; his genres were gay, delineating female farm
workerswith the features of city lasses. However, Pereira's cavases aooeared chalky.
He acquired the habit of mixing his yellows, greensand other pigments with a little too
much white; and a little more of white than necessary made a lot of difference. He
joinedthe Philippines Free Press as its chief artist and cartoonist; but after five years he
returned to painting. In his art, he was Amorsoloesqure, hence, less original. His
"Arruvak if the Missionaries" bears this unoriginality. Furthermore, in the paiting, the
pagas waiting for the missionaries look like costume models,because
90
AMERICAN PERIOD- PAINTINGS 91
their attires were given minute, individual treatment wihtout synthesis and without
regard for the whole.
Quite opposed to Pereiara was Pablo Amoroslo (1898-19450. Even as he was a
younger brother of Fernando, he was not influenced bythe older brother's style. As a
Painters and Painting in the two decades. Genre persists.
Many yount painters of the nineteen thirties fell the influence of Amorsolo, who by
that decade had displaced de la Rosa in portraiture, and had also established himself
as the leading genre and landscape painter. Economically, this decade was much
betterthan the previous one as manisfested by larger volume of business,
estabksihment of bans and increased construction of new commercial buildings and
resdences. The improvement in the economy was a boon to astists in that people were
able to afford paintings to decorate their homes. Even those in the lower middle class
acquired paintings for their modest houses, and since most of them could not afford an
Amosolo, they patronized the works of young artists. However, these art patrons
preferredthe Amorsolo-style paintings. They had seen Amorsolo genres in exhibitions,
in reporductions in books, in magazines convers and incalendars. Faced with this
demand therefore, young artists of the nineteen thirties veered towards the style of
Amorsolo.However, not all of those who followed the trails of Amorsolo were mere
imitators. There were those who convinced of effectiveness and popularity of
Amoroslo's color, simply wanted to improve their own.
Jose Pereira (1901-1954) who did commercial art work with Amoroslo at the
Pacivif COmmercial Company was the very firstof his ofollowers. His landscapes had
the Amorosolo color to a certain degree; his genres were gay, delineating female farm
workerswith the features of city lasses. However, Pereira's cavases aooeared chalky.
He acquired the habit of mixing his yellows, greensand other pigments with a little too
much white; and a little more of white than necessary made a lot of difference. He
joinedthe Philippines Free Press as its chief artist and cartoonist; but after five years he
returned to painting. In his art, he was Amorsoloesqure, hence, less original. His
"Arruvak if the Missionaries" bears this unoriginality. Furthermore, in the paiting, the
pagas waiting for the missionaries look like costume models,because
90
AMERICAN PERIOD- PAINTINGS 91
their attires were given minute, individual treatment wihtout synthesis and without
regard for the whole.
Quite opposed to Pereiara was Pablo Amoroslo (1898-19450. Even as he was a
younger brother of Fernando, he was not influenced bythe older brother's style. As a
