Purveyor of Knowledge
on Philippine Art

The Arts of the Philippines

An emerging publisher of books on Philippine Art
August 31, 2015


REVELATIONS A Jaime de Guzman Retrospective

by The Artes de las Filipinas Research Team

May 2015--Jaime de Guzman began his fine art studies at the University of Sto Tomas where he majored in Painting. Two years later, he packed his brushes and spent nearly a year traveling and painting in Cebu, Samar and Zamboanga. It was then that he sought out Martino Abellana, mentor to many of the Cebuano artists. His paintings reflected the everyday scenes of his travels – the port of Cebu, house interiors of local artists, and the hills of Samar. He later returned to Manila to enroll as a Fine Arts student at the University of the Philippines.

Jaime had his first solo exhibit at Solidaridad Galleries in Malate, Manila in 1967. That same year, he also had a one-man show in the National Museum, quite a feat for a 25-year old who traced his origins ro Liliw, Laguna.

In the process, he had joined bohemia, or more specifically, the generation of war babies and baby boomers that had taken up from where European existentialists and American beatniks had trailed off – to become the Flower Power people by the turn of the 1960s.


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The Culture and Art of the Mangyan

by Jericho Paul Santos

September 2012--The Mangyan tribe has been included in the history of Mindoro. Spaniards have long documented the life of the Mangyan people. However, much is still to be learned from the culture of one of the Philippines’ richest ethnic group. Mangyan refers to the Philippine ethnic group living in Mindoro Island but some can be found in the island of Tablas and Sibuyan in the province of Romblon as well as in Albay, Negros and Palawan. The word Mangyan generally means man, woman or person without any reference to any nationality. Social scientists have documented Mangyan tribes into several major tribes. One of the ways to categorize them is through their geographical location. The Northern tribes include the Iraya, Alangan and Tadyawan tribes while the Buhid, Bangon Batangon and Hanunuo Mangyan comprise the tribes in the South. 

The Culture
Despite being grouped as one tribe, Mangyans differ in many ways. In comparison to the technological advance between the two geographical divisions, the Southern tribes are more advanced as seen in their use of weaving, pottery and system of writing. The Northern tribes, on the other hand, are simpler in their way of living. Their language just like the whole Philippines came from the Austronesian language family. However, even if they are defined as one ethnic group the tribes used different languages. On the average, they only share 40% of their vocabulary words on their mutual languages. The tribes have also varied physical and ethnogenetic appearances: Iraya has Veddoid features; Tadyawan are mainly Mongoloid; and the Hanunuo looks like a Proto-Malayan.

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The Angono-Binangonan Petroglyphs

by The Artes de las Filipinas Research Team

July-August 2013--A geological study in Tres Hermanas in Antipolo was undertaken by the National Institute of Geological Sciences, University of the Philippines. In this site, the Plio-Pliestocene deposit was identified as Laguna Formation which consists of tuffs deposited in an alluvial setting. The radio-metric datings are 1.7 and 1.0 million years. Recovery of plant fossils and extraction of pollen grains from sediments were undertaken. The data indicated a sub-tropical moderate climate in the Plio-Pliestocene. The area was covered by a forest with thick trees  and bushes  of angiospermae (flowering plants) gymnospermae (pines) and ferns or pterydophytes. Grasses were present, indicating atleast partly open forest or grasslands. The presence of pine trees and ferns indicated a subtropical moderate climate, cooler that the present day climate of the area. Vertebrate fossils found were molars and tusks of Pygmy Stegodonts and pertrified remains of a giant land turtle.


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Break the Silence Over Fakes

by Jack Flam

April 2012 -- The press has recently been full of reports about forgeries. In Europe, fakes by Wolfgang Beltracchi have embarrassed a number of experts and collectors. In the US, a painting purportedly by Jackson Pollock that was sold for $17m is the subject of a lawsuit against the now-closed Knoedler gallery and its former president Ann Freedman. This “Pollock”, moreover, seems to be only the tip of the iceberg, since it appears to belong to a surprisingly large collection of pictures supposedly painted by leading abstract expressionist artists. This collection was allegedly brokered by a previously obscure dealer named Glafira Rosales, who is now said to be the subject of an FBI investigation. The names attached to the paintings Rosales allegedly handled include Franz Kline, Willem de Kooning, Robert Motherwell, Barnett Newman, Mark Rothko and Clyfford Still, as well as Pollock.

One of these paintings, supposedly from the “Elegy to the Spanish Republic” series by Motherwell, was recently confirmed as a forgery by the Dedalus Foundation as part of a court settlement. The foundation, which I head, is sponsoring a catalogue raisonné of Motherwell’s work. Our experience with this and related works makes it clear how problematic the issue of authenticity has become for scholars, collectors, gallery owners, and foundations specialising in modern painting. Sharply rising prices and an increasing scarcity of major works have created a rich environment for forgers.

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A Stolen Picasso Painting Shipped As A Christmas Present Has Finally Been Seized

by Artnet News

March 2015--A stolen Picasso painting which was considered lost for years has resurfaced in the United States, where it had been shipped under false pretenses as a $37 Christmas present labeled as “art craft." The 1911 painting, La Coiffeuse (The Hairdresser), was discovered in December in a FedEx shipment from Belgium to Long Island City.

The US attorney for the Eastern District of New York, Loretta Lynch, filed a civil forfeiture suit on Thursday, February 26 to return the painting to France. The work is owned by the French government.

The painting, worth millions of dollars, was stolen in Paris more than a decade ago, though the theft's exact date is unclear. It had been smuggled out of a storeroom at the Centre Georges Pompidou.

The canvas was last exhibited in Munich in 1998, and then returned to Paris, where it was placed in storage at the Paris museum. It wasn't until three years later, in 2001, when officials received a loan request for the cubist landmark, that the theft was noticed. Having searched the storerooms to no avail, they declared the painting, then valued at more than $2.5 million, stolen, the New York Times reports.

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A Critical Essay on Constructing the Filipina: A History of Women’s Magazines (1891-2002)

by Molly Anne Velasco

April 2013--Constructing the Filipina: A History of Women’s Magazines from 1891-2002 by Georgina Reyes Encanto is a first attempt to record the history of Women’s magazines in the historical-feminist perspective. The author herself is the former Dean of Mass Communication and a Journalism professor in the University of the Philippines. Her research interests mainly cover Philippine press history, feminism and gender issues in Philippine media and popular culture. 
She begins her book with an introduction to the location of Women’s magazines in the lives of everyday Filipina women. Women’s magazines are the most accessible forms of media for women of different social classes. Topics of magazines usually include gossip, fashion, tips for the house and the workplace, horoscopes and relationship advice, all of which are absorbed by many of the readers from cover to cover. The pictures of beautiful scantily clad or fashion forward women who the readers idolize are often found on the covers along with advertisements of products that are supposed to aid women into becoming like the celebrities they adore. Encanto gives specific statistics regarding their circulation well as statistics on which medium and the percentage of the population were actually reading magazines thereby establishing factual evidence on Women’s magazines’ ubiquity. She also states that the study of women’s magazines as an Ideological and/or Repressive State Apparatus is a challenge yet a necessity because of their influences in the ideologies, decisions and world-view of women in the country within the book’s given timeframe. She mentions that while cursory historical accounts have been made by earlier writers, none of them have written in the historical-feminist perspective or have focused on women’s magazines specifically.
The author describes that women’s magazines did not appear until the last quarter of the 19th century. The women writers at that time were of bourgeoisie, ilustrada upbringing who propagated dominant Western, patriarchal and religious ideologies to their readership.  The articles in these magazines had women assigned to subordinate, domestic roles; deceiving women by romanticizing their roles as homemakers thus establishing the ideas of the hegemony during that era. Amidst the seemingly progressive articles that promote women’s development, juxtaposing these against repressive, colonial ideologies was very evident with the portrayal of the ideal women as learned and cultured ‘Queens of the Home’ in a patriarchal society. The ideal women exist to serve their husbands and use her knowledge for the proper upbringing of her children. The perception of physical beauty should reflect those of the 

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Private Collections Art Book Officially Launched

by Artes de las Filipinas Web Team

October 20, 2009 -- EACOMM Corporation hosted a cocktail reception to celebrate the publication of its first book project, Private Collections. Almost three hundred guests turned up at the Isla Ballroom 3 of Edsa Shangri-La Hotel to welcome the release of the limited edition art book and to have it signed by the art collectors.

The audience had a warm and unforgettable moment that Tuesday evening. Artists and distinguished guests from the business, arts and society stood in lines to meet and have a chat with Washington SyCip, Hans Sy, David Consunji, Joey de Leon, Napoleon Abueva, Charlie Cojuangco, Joel Jimenez, Eddie Chua, Patrick Reyno, Mark Villar, Julius Babao, Arsenio Tanco, Jovenal Santiago, Manny Zialcita, Gilbert Santos, Wilmer Hontiveros, Louie Ojeda, Mikee Romero and Alexander Tan, who were recognized and honored that night.

Private Collections is available online and at Fully Booked and Powerbooks.

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