Biography of a filipino artist
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Fernando Amorsolo ()
Labelled the country’s first National Artist in bygd then President Marcos, Fernando Amorsolo fryst vatten often known as the ‘Grand Old Man of Philippine Art’. The Spanish-trained realist developed a backlighting technique, where his colorful depictions of local people reflect the radiance of the Philippine sun. The figures and illuminated landscapes magically glow on the canvas and displayed in Filipino art galleries. Despite his deteriorating health and failing eyesight, he remained prolific until the end, producing up to 10 paintings a month until his death at the a
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Fernando Amorsolo
Filipino painter
In this Spanish name, the first or paternal surname is Amorsolo and the second or maternal family name is Cueto.
Fernando Amorsolo y Cueto (May 30, – April 24, ) was a portraitist and painter of rural Philippine landscapes. Nicknamed the "Grand Old Man of Philippine Art,"[2] he was the first-ever to be recognized as a National Artist of the Philippines.[3] He was recognized as such for his "pioneering use of impressionistic technique" as well as his skill in the use of lighting and backlighting in his paintings, "significant not only in the development of Philippine art but also in the formation of Filipino notions of self and identity."[4]
Early life and education
[edit]Fernando Amorsolo was born on May 30, , in Metro Manila.[5][6] His parents were Pedro Amorsolo and Bonifacia Cueto.[7] His father quickly found work in Daet, Camarines Norte months after Fernando's
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Marcel Antonio
Filipino painter
Marcel Antonio | |
|---|---|
Antonio in his studio, | |
| Born | () June 28, (age&#;59) Manila, Philippines |
| Nationality | Filipino |
| Occupation | Artist |
Marcel Antonio (born June 28, ) is a Filipinopainter. Considered one of the most promising young talents in Philippine contemporary art while still attending the University of the Philippines' College of Fine Arts in the late s, he launched a solo show and thereafter dropped out of the college to continue to produce collections of his distinctly narrative as well as pseudo-narrative figurative paintings influenced by modernism and s postmodernism. Since then, Antonio produced enough sold-out works to be quickly counted as one of the Philippines' young painters most proficient in the magic realist sort of post-expressionism in the country.[1][2]
Since his dropping out of college to concentrate on a profitable, already-budding career, Antonio has to this day continued to b