CHAPTER XIV
Fernando C. Amorsolo.
Among the first students who attended the figure painting classes of Enriquez,
whose forte was to lecture on the thoroughness of Velaszuez manner
of patingin and hte vividness of his colors, Fernando C. Amorsolo stands out as one
who took to Velasquez with considerable seriousness. He lent attentive ears
to this professor;s lectures and supplemented his studies through reading books and art
magazined. He studied closely the paintings of the nasters, the faithful
reproduction of which having been made possible bythe development nad improvement
of color process in printing. Magazines, like Spain's La Esfera, Englan's International
Studio, America's The Studio and other publications all bearing very good full-color
reproductions of both European and American
works, found their way to the Philippines. Via this medium, works of old as well as new
artists, like Zorolla, Zuloaga, Anders Zoro, Manet, Monet, Corot, Millet, Renoir, Gauguin,
George Iness, James McNeil Whistler, John Singer Sargent,
and the British Gainsborough, Turner, Constable and others, became easily accessible.
Amorsolo Experimented with Velasquez'z use of delicate grays in his pigments.
And also attrracted by the bright colors of Monet in his pigments. And also attracted
by the bright colors of Monet and other impressionists, like Zorolla and Renoir, he used
these bright color but toning them down with the delicate grays of Velasquez, With this
gray and his unsually superlative sesitivity to the split deffereneces of valus, he
achieved the softening down
of the brilliant reds, yellows and blues, and their coressponding complemenatries,
sufficiently to the point where hues contrasted with each other yet remained in
remarkable harmony.
Thus, the Amorsolo color was born.
, The other Velaszuez technique made use of by the young artist is the so-called
"vision of the moment." Evidentlypainted with eae and facility, any Velasquez's work
shows a
prevailing unity brought about by the total unity of all elements in the picture. This unity
is obtained by the ability to see and render the true relationship
bwetween parts as perceived in one glance.This
85
86 ART IN THE PHILIPPINES
on glance encompasses the entire area that is to appear in the painting. While it has
been true that competent and accomplished painters are aware of this "vision of the
moment," it was Velasquez alone who made skillful and thorough use of it. He exploited
it to its fullest to bring out the effect of oneness,
completeness, and with freness and spontaneity of effect. Also, it is relevant to note
that inspiration from Velasquez's "vision of the moment."
Young Amorsolo rented a house-studio on Calle Alejandro VI to work in. One of
the houses he worked for was the Pacific Commercial Company. At an early stage in his
career he decided to devote his art to the interpretation of Philpiine daily life, properly
termed Genre. The first Genre he turned out did not fully please him, though it already
appeared notable with his richly developing palette.
To sojourn in Europe and study Velasquez and hte Spanish And French
Impressionists was one of Amorsolo's Plans. This plan materialized in 1919 when he
was granted a fellowship to Spain by Don Fernando Zobel, a wealthy Spanish proprietor
and buisnessman, father of the modernist painter of the same name.
In Madrid Amosolo placed himself under the advisorship of Jose Moreno Carbonero and
Cecilioo Pla, two of Madrid's distinguished painters and professors of the Royal
Academy
Fernando C. Amorsolo.
Among the first students who attended the figure painting classes of Enriquez,
whose forte was to lecture on the thoroughness of Velaszuez manner
of patingin and hte vividness of his colors, Fernando C. Amorsolo stands out as one
who took to Velasquez with considerable seriousness. He lent attentive ears
to this professor;s lectures and supplemented his studies through reading books and art
magazined. He studied closely the paintings of the nasters, the faithful
reproduction of which having been made possible bythe development nad improvement
of color process in printing. Magazines, like Spain's La Esfera, Englan's International
Studio, America's The Studio and other publications all bearing very good full-color
reproductions of both European and American
works, found their way to the Philippines. Via this medium, works of old as well as new
artists, like Zorolla, Zuloaga, Anders Zoro, Manet, Monet, Corot, Millet, Renoir, Gauguin,
George Iness, James McNeil Whistler, John Singer Sargent,
and the British Gainsborough, Turner, Constable and others, became easily accessible.
Amorsolo Experimented with Velasquez'z use of delicate grays in his pigments.
And also attrracted by the bright colors of Monet in his pigments. And also attracted
by the bright colors of Monet and other impressionists, like Zorolla and Renoir, he used
these bright color but toning them down with the delicate grays of Velasquez, With this
gray and his unsually superlative sesitivity to the split deffereneces of valus, he
achieved the softening down
of the brilliant reds, yellows and blues, and their coressponding complemenatries,
sufficiently to the point where hues contrasted with each other yet remained in
remarkable harmony.
Thus, the Amorsolo color was born.
, The other Velaszuez technique made use of by the young artist is the so-called
"vision of the moment." Evidentlypainted with eae and facility, any Velasquez's work
shows a
prevailing unity brought about by the total unity of all elements in the picture. This unity
is obtained by the ability to see and render the true relationship
bwetween parts as perceived in one glance.This
85
86 ART IN THE PHILIPPINES
on glance encompasses the entire area that is to appear in the painting. While it has
been true that competent and accomplished painters are aware of this "vision of the
moment," it was Velasquez alone who made skillful and thorough use of it. He exploited
it to its fullest to bring out the effect of oneness,
completeness, and with freness and spontaneity of effect. Also, it is relevant to note
that inspiration from Velasquez's "vision of the moment."
Young Amorsolo rented a house-studio on Calle Alejandro VI to work in. One of
the houses he worked for was the Pacific Commercial Company. At an early stage in his
career he decided to devote his art to the interpretation of Philpiine daily life, properly
termed Genre. The first Genre he turned out did not fully please him, though it already
appeared notable with his richly developing palette.
To sojourn in Europe and study Velasquez and hte Spanish And French
Impressionists was one of Amorsolo's Plans. This plan materialized in 1919 when he
was granted a fellowship to Spain by Don Fernando Zobel, a wealthy Spanish proprietor
and buisnessman, father of the modernist painter of the same name.
In Madrid Amosolo placed himself under the advisorship of Jose Moreno Carbonero and
Cecilioo Pla, two of Madrid's distinguished painters and professors of the Royal
Academy
