Juan Luna y Novicio (October 23, 1857 – December 7, 1899) was a Filipino painter, sculptor and a

political activist of the Philippine Revolutionduring the late 19th century. He became one of the first

recognized Philippine artists.

His winning the gold medal in the 1884 Madrid Exposition of Fine Arts, along with the silver win of fellow

Filipino painter Félix Resurrección Hidalgo, prompted a celebration which was a major highlight in the

memoirs of members of the Propaganda Movement, with the fellow Ilustrados toasting to the two painters'

good health and to the brotherhood between Spain and the Philippines.

Regarded for work done in the manner of the Spanish, Italian and French academies of his time, Luna

painted literary and historical scenes, some with an underscore of political commentary. His allegorical

works were inspired with classical balance, and often showed figures in theatrical poses.

Early life[edit]

Born in the town of Badoc, Ilocos Norte  in the northern Philippines, Juan Luna was the third among the

seven children of Don Joaquin Luna de San Pedro y Posadas and Doña Laureana Novicio y Ancheta. In

1861, the Luna family moved to Manila and he went to Ateneo Municipal de Manila  where he obtained

his Bachelor of Arts degree. He excelled in painting and drawing, and was influenced by his

brother, Manuel Luna, who, according to Filipino patriot José Rizal, was a better painter than Juan

himself.

Luna enrolled at Escuela Nautica de Manila (now Philippine Merchant Marine Academy) and became a

sailor. He took drawing lessons under the illustrious painting teacher Lorenzo Guerrero of Ermita , Manila .

He also enrolled in the Academy of Fine Arts (Academia de Dibujo y Pintura) in Manila where he was

influenced and taught how to draw by the Spanish artist Agustin Saez. Unfortunately, Luna's vigorous

brush strokes displeased his teacher and Luna was discharged from the Academy. However, Guerrero

was impressed by his skill and urged Luna to travel to Spain to further pursue his studies.

Travel abroad[edit]

In 1877 Manuel and Juan Luna traveled to Europe, where Manuel studied music and Juan painting. Juan

entered the Escuela de Bellas Artes de San Fernando , where he befriended the painter Don Alejo Vera .

Luna was discontented with the style of teaching in school and decided that it would be much better to

work with Vera.

Vera brought him to Rome for some of his commissions, and Luna was exposed to the art of

the Renaissance painters. It was in 1878 when his artistic talents was established with the opening of the

first art exposition in Madrid which was called the Exposición Nacional de Bellas Artes  (National

Demonstration of Fine Arts). From then on, Luna became engrossed in painting and produced a collection

of paintings that he exhibited in the 1881 Exposition.

In 1881, his La Muerte de Cleopatra (The Death of Cleopatra)[1][2] won him a silver medal and came in

second place. Luna's growing reputation as an artist led to a pensionado (pension) scholarship at 600

pesos annually through the Ayuntamiento of Manila. The condition was that he was obliged to develop a

painting which captured the essence of Philippine history which would then become the Ayuntamiento's

property.

As an artist[edit]

Juan Luna in his Paris studio.

In 1883 Luna started the painting demanded of him by the Ayuntamiento. In May 1884, he shipped the

large canvas of the Spoliarium to Madrid for the year's Exposición Nacional de Bellas Artes. He was the

first recipient of the three gold medals awarded in the exhibition and Luna gained recognition among

the connoisseurs and art critics present. On June 25, 1884, Filipino and Spanish nobles organized an

event celebrating Luna's win in the exhibition. That evening, Rizal prepared a speech for his friend,

addressing the two significant things of his art work, which included the glorification of genius and the

grandeur of his artistic skills.

Luna developed a friendly relationship with the King of Spain and was later commissioned by the Spanish

Senate to paint a large canvas which was called the La Batalla de Lepanto (The Battle of Lepanto).[3] He

moved to Paris in 1885 where he opened his own studio and befriended Hidalgo. A year after, he finished

the piece El Pacto de Sangre (The Blood Compact) in accordance with the agreement he had with the

Ayuntamiento of Manila. Depicted in this piece was the blood compact ceremony between the Datu

Sikatuna, one of the lords in Bohol island, and the Spanish conquistadorMiguel López de Legazpi.[4] It is

now displayed in the Malacañan Palace . He also sent two other paintings in addition to the one required;

the second canvas sent to Manila was a portrait of López de Legazpi reconstructed by Luna from his

recollection of a similar portrait he saw in the hall of theCabildo, and the third was of Governor-

general Ramón Blanco y Erenas.

In 1887, Luna once again traveled back to Spain to enter in that year's Exposition two of his pieces,

the La Batalla de Lepanto and Rendición de Granada  (Surrender of Granada), which both won in the

exhibition. He celebrated his triumph with his friends in Madrid with Graciano López-Jaena  delivered Luna

a congratulatory speech. Luna's paintings are generally described as being vigorous and dramatic. With

its elements of Romanticism, his style shows the influence of Delacroix, Rembrandt, and Daumier.

Marriage[edit]

On December 8, 1886, Luna married Maria de la Paz Pardo de Tavera, a sister of his friend Felix

and Trinidad Pardo de Tavera. The couple traveled to Venice and Rome and settled in Paris. They had

one son, whom they named Andrés, and a daughter nicknamed Bibi who died in infancy. Luna was fond

of painting his wife. However, the jealous Luna frequently accused Paz of having an affair with a

certain Monsieur Dussaq. Finally in a fit of jealousy, he killed his wife and mother-in-law and wounded his

brother-in-law, Felix, on September 23, 1892. He was arrested and murder charges were filed against

him.

Luna was acquitted of charges on February 8, 1893, on grounds of temporary insanity; the "unwritten law"

at the time forgave men for killing unfaithful wives.[5] He was ordered to pay the Pardo de Taveras  a sum

of one thousand six hundred fifty one francs and eighty three cents, and an additional twenty five francs

for postage, in addition to the interest of damages. Five days later, Luna went to Madrid with his

brother, Antonio Luna, and his son, Andrés.

Final years[edit]

In 1891 Luna moved back to the Philippines and traveled to Japan in 1896, returning during the Philippine

Revolution of the Cry of Balintawak. Unfortunately, on September 16, 1896, he and his brother Antonio

Luna were arrested by Spanish authorities for being involved with the Katipunan rebel army.[6] Despite his

imprisonment, Luna was still able to produce a work of art which he gave to a visiting priest. He was

pardoned by the Spanish courts on May 27, 1897 and was released from prison and he traveled back to

Spain. In 1898, he was appointed by the executive board of the Philippine revolutionary government as a

member of the Paris delegation which was working for the diplomatic recognition of the República Filipina

(Philippine Republic). In 1899, upon the signing of the Treaty of Paris (1898),[7] Luna was named a

member of the delegation to Washington, D.C. to press for the recognition of the Philippine government.

He traveled back to the Philippines in December 1899 upon hearing of the murder of his brother Antonio

by the Kawit Battalion  in Cabanatuan. On December 7, 1899, Luna suffered a heart attackand died there.

His remains were buried in Hong Kong and in 1920 were exhumed and kept in Andrés Luna's house, to

be later transferred to a niche at the Crypt of the San Agustin Church in the Philippines. Five years later,

Juan would be reinstated as a world renowned artist and Peuple et Rois , his last major work, was

acclaimed the best entry to the Saint Louis World's Fair in the United States.[8] Unfortunately some of his

paintings were destroyed by fire in World War II.

Paintings by Juan Luna

SpoliariumPainting

The Spoliarium is a painting by Filipino artist Juan Luna. The painting was submitted by Luna to the Exposición Nacional de Bellas Artes in 1884 in Madrid, where it garnered the first gold medal. Wikipedia

Artist: Juan LunaSubject: Gladiator

Location: National Museum of the PhilippinesDimensions: 4.0 m x 7.0 mCreated: 1884Media: Oil paint

The Blood CompactPainting

The Blood Compact is an award-winning 1886 “historic and historical' painting by Filipino painter Juan

Luna. Wikipedia

Artist: Juan Luna

Location: Malacañang Palace

Dimensions: 2.00 m x 3.0 m

Created: 1886

Genre: History painting

Subject: Datu Sikatuna

Fernando Amorsolo

Fernando Cueto Amorsolo (May 30, 1892 – April 24, 1972) is one of the most important artists

in the history of painting in the Philippines.[1]Amorsolo was a portraitist and painter of rural Philippine

landscapes. He is popularly known for his craftsmanship and mastery in the use of light. Born in Paco,

Manila, he earned a degree from the Liceo de Manila Art School in 1909.[2][3] [4]

Contents

  [hide] 

1   Biography

o 1.1   Formative years

o 1.2   Marriage and Issue

2   Style and techniques

o 2.1   Women and landscapes

o 2.2   Sketches

o 2.3   Historical paintings and portraits

o 2.4   World War II-era works

3   Critical evaluation

4   Legacy

o 4.1   Amorsolo paintings in the art market

5   Major works

6   Awards and achievements

o 6.1   Major exhibitions

7   See also

8   References

9   External links

Biography[edit]

Formative years[edit]

Fernando Amorsolo was born on May 30, 1892 in the Paco neighborhood, when Manila was still under

Spanish sovereignty, to Pedro Amorsolo, a book keeper, and Bonifacia Amorsolo née Cueto. Amorsolo

spent his childhood in Daet, Camarines Norte, where he studied in a public school and was tutored at

home in Spanish language reading and writing. After his father's death, Amorsolo and his family moved to

Manila to live with DonFabián de la Rosa, his mother's cousin and a Philippine painter. At the age of 13,

Amorsolo became an apprentice to De la Rosa, who would eventually become the advocate and guide to

Amorsolo's painting career. During this time, Amorsolo's mother embroidered to earn money, while

Amorsolo helped by selling water color postcards to a local bookstore for ten centavos each. Amorsolo's

brother, Pablo Amorsolo, was also a painter. Amorsolo's first success as a young painter came in 1908,

when his painting Leyendo el periódico took second place at the Bazar Escolta, a contest organized by

the Asociacion Internacional de Artistas. Between 1909 and 1914, Amorsolo enrolled at the Art School of

the Liceo de Manila, where he earned honors for his paintings and drawings.

Antipolo by Fernando Amorsolo, depicting Filipinos celebrating a town fiesta.

After graduating from the Liceo, he entered the University of the Philippines' School of Fine Arts, where

De la Rosa worked at the time. During college, Fernando Amorsolo's primary influences were the Spanish

people court painter Diego Velázquez, John Singer Sargent,Anders Zorn, Claude Monet, Pierre-Auguste

Renoir, but mostly his contemporary Spanish masters Joaquín Sorolla Bastida andIgnacio Zuloaga.

Amorsolo's most notable work as a student at the Liceo was his painting of a young man and a young

woman in a garden, which won him the first prize in the art school exhibition during his graduation year.To

make money during school, Amorsolo joined competitions and did illustrations for various Philippine

publications, including Severino Reyes’ first novel in Tagalog language,Parusa ng Diyos ("Punishment of

God"), Iñigo Ed. Regalado's Madaling Araw ("Dawn"), as well as illustrations for editions of thePasion.

Amorsolo graduated with medals from the University of the Philippines in 1914.

After graduating from the University of the Philippines, Amorsolo worked as a draftsman for the Bureau of

Public Works, as a chief artist at the Pacific Commercial Company, and as a part-time instructor at the

University of the Philippines (where he would work for 38 years). After three years as an instructor and

commercial artist, Amorsolo was given a grant to study at the Academia de San Fernando in Madrid,

Spain by Filipino businessman Enrique Zobel de Ayala. During his seven months in Spain, Amorsolo

sketched at museums and along the streets of Madrid, experimenting with the use of light and

color.Through De Ayala's grant, Amorsolo was also able to visit New York City, where he encountered

postwar impressionism and cubism, which would be major influences on his work.

Fruit Pickers Harvesting Under The Mango Tree, 1939. Oil on canvas. Amorsolo demonstrating his use of "Chiaroscuro", an

Italian term describing contrast between light and dark, to achieve a sense of three-dimensionality, especially in regards to

the human figure.

Amorsolo set up his own studio upon his return to Manila and painted prodigiously during the 1920s and

the 1930s. His "Rice Planting" (1922), which appeared on posters and tourist brochures, became one of

the most popular images of the Commonwealth of the Philippines. Beginning in the 1930s, Amorsolo's

work was exhibited widely both in the Philippines and abroad. His bright,optimistic, pastoral images set

the tone for Philippine painting before World War II . Except for his darker World War II-era paintings,

Amorsolo painted quiet and peaceful scenes throughout his career.

Amorsolo was sought after by influential Filipinos including Luis Araneta, Antonio Araneta and Jorge B.

Vargas. Amorsolo also became the favourite Philippine artist of United States officials and visitors to the

country. Due to his popularity, Amorsolo had to resort to photographing his works and pasted and

mounted them in an album. Prospective patrons could then choose from this catalogue of his works.

Amorsolo did not create exact replicas of his trademark themes; he recreated the paintings by varying

some elements.

His works later appeared on the cover and pages of children textbooks, in novels, in commercial designs,

in cartoons and illustrations for the Philippine publications such The Independent, Philippine

Magazine, Telembang, El Renacimiento Filipino, and Excelsior. He was the director of the University of

the Philippine's College of Fine Arts from 1938 to 1952.

During the 1950s until his death in 1972, Amorsolo averaged to finishing 10 paintings a month. However,

during his later years, diabetes, cataracts, arthritis, headaches, dizziness and the death of two sons

affected the execution of his works. Amorsolo underwent a cataract operation when he was 70 years old,

a surgery that did not impede him from drawing and painting. Two months after being confined at the St.

Luke's Hospital in Manila, Amorsolo died of heart failure at the age of 79 on April 24, 1972 .

Four days after his death, Amorsolo was honoured as the first National Artist in Painting at the Cultural

Center of the Philippines by then President Ferdinand Marcos.

Amorsolo was a close friend of the Philippine sculptor Guillermo Tolentino, the creator of the Caloocan

City monument to the patriot Andrés Bonifacio.

Marriage and Issue[edit]

During his lifetime, Amorsolo was married twice and had 14 children. In 1916, he married Salud Jorge,

with whom he had six children. After Jorge's death in 1931, Amorsolo married Maria del Carmen

Zaragoza, with whom he had eight children. Among her daughters are Sylvia Amorsolo Lazo and Luz

Amorsolo. Five of Amorsolo's children became painters themselves.

Style and techniques[edit]

Fruit Gatherer, 1950. Oil on artist's board. A specimen of Amorsolo's conception of an ideal Filipina beauty. It also depicts

his mastery of realism, impressionism and the use of "Chiaroscuro".

Sketch of a woman, whose unfinished style is representative of Amorsolo's sketching.

Women and landscapes[edit]

Amorsolo is best known for his illuminated landscapes,[5] which often portrayed traditional Filipino

customs, culture, fiestas and occupations. His pastoral works presented "an imagined sense of

nationhood in counterpoint to American colonial rule" and were important to the formation of Filipino

national identity.[1] He was educated in the classical tradition and aimed "to achieve his Philippine version

of the Greek ideal for the human form."[6] In his paintings of Filipina women, Amorsolo rejected Western

ideals of beauty in favor of Filipino ideals[7] and was fond of basing the faces of his subjects on members

of his family.[8]

"[The women I paint should have] a rounded face, not of the oval type often presented to us in

newspapers and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy

type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked.

... So the ideal Filipina beauty should not necessarily be white complexioned, nor of the dark brown color

of the typical Malayan, but of the clear skin or fresh colored type which we often witness when we met a

blushing girl."

—Fernando Amorsolo[7]

Amorsolo used natural light in his paintings and developed the backlighting technique Chiaroscuro, which

became his artistic trademark and his greatest contribution to Philippine painting.[2][3][9] In a typical

Amorsolo painting, figures are outlined against a characteristic glow, and intense light on one part of the

canvas highlights nearby details.[3] Philippine sunlight was a constant feature of Amorsolo's work; he is

believed to have painted only one rainy-day scene.[3]

Sketches[edit]

Amorsolo was an incessant sketch artist,[7] often drawing sketches at his home, at Luneta Park, and in the

countryside.[8] He drew the people he saw around him, from farmers to city-dwellers coping with

the Japanese occupation.[7] Amorsolo's impressionistic tendencies, which may be seen in his paintings as

well, were at their height in his sketches.[7] His figures were not completely finished but were mere

"suggestions" of the image.[7]

Historical paintings and portraits[edit]

Amorsolo also painted a series of historical paintings on pre-Colonial and Spanish Colonization events.

Amorsolo's Making of the Philippine Flag, in particular, was widely reproduced.[10] His The First Baptism in

the Philippines required numerous detailed sketches and colored studies of its elements.[10] These diverse

elements were meticulously and carefully set by the artist before being transferred to the final canvas.[10] For his pre-colonial and 16th-century depiction of the Philippines, Amorsolo referred to the written

accounts of Antonio Pigafetta, other available reading materials, and visual sources.[10] He consulted with

the Philippine scholars of the time, H. Pardo de Tavera and Epifanio de los Santos.[10]

Amorsolo also painted oil portraits of Presidents like General Emilio Aguinaldo, and other prominent

individuals such as Don Alfredo Jacób and Doña Pura Garchitorena Toral of Camarines Sur. He also

painted the wedding picture of Don Mariano Garchitorena and Doña Caridad Pamintuan of Pampanga.

He also did a portrait of American Senator Warren Grant Magnuson (1905–1989), of the Democratic

Party from Washington, whom the Warren G. Magnuson Health Sciences Building at the University of

Washington, and the Warren G. Magnuson Clinical Center at the National Institutes of Health in

Bethesda, Maryland are named after.

Detail from Fernando Amorsolo's 1945Defence of a Filipina Woman's Honour, which is representative of Amorsolo's World

War II-era paintings. Here, a Filipino man defends a woman, who is either his wife or daughter, from being raped by an

unseen Japanese soldier. Note the Japanese military cap at the man's foot

World War II-era works[edit]

After the onset of World War II, Amorsolo's typical pastoral scenes were replaced by the depictions of a

war-torn nation. During the Japanese occupation of the Philippines during World War II, Amorsolo spent

his days at his home near the Japanese garrison, where he sketched war scenes from the house's

windows or rooftop.[8]

During the war, he documented the destruction of many landmarks in Manila and the pain, tragedy and

death experienced by Filipino people, with his subjects including "women mourning their dead husbands,

files of people with pushcarts and makeshift bags leaving a dark burning city tinged with red from fire and

blood."[10] Amorsolo frequently portrayed the lives and suffering of Filipina women during World War II.

Other World War II-era paintings by Amorsolo include a portrait in absentia of General Douglas

MacArthur as well as self-portraits and paintings of Japanese occupation soldiers.[3] In 1948, Amorsolo's

wartime paintings were exhibited at the Malacañang Presidential Palace.[3]

Critical evaluation[edit]

Amorsolo's supporters consider his portrayals of the countryside as "the true reflections of the Filipino

Soul."[6]

Amorsolo has been accused, however, of succumbing to commercialism and merely producing souvenir

paintings for American soldiers.[6] CriticFrancisco Arcellana wrote in 1948 that Amorsolo's paintings "have

nothing to say" and that they were not hard to understand because "there is nothing to

understand."[6] Critics have criticized Amorsolo's portraits of Philippine Commonwealth personalities, his

large, mid-career anecdotal works, and his large historical paintings.[6] Of the latter, critics have said that

his "artistic temperament was simply not suited to generating the sense of dramatic tension necessary for

such works."[6]

Another critic, however, while noting that most of Amorsolo's estimated ten thousand works were not

worthy of his talent, argues that Amorsolo's oeuvre should nonetheless judged by his best works instead

of his worst.[6] Amorsolo's small landscapes, especially those of his early career, have been judged as his

best works, "hold[ing] well together plastically."[6] Amorsolo may "be considered a master of the Philippine

landscape as landscape, even outranking Luna and Hidalgo who also did some Philippine landscapes of

the same measurements."[6]

Legacy[edit]

Amorsolo's grave in Marikina City

The volume of paintings, sketches and studies of Amorsolo is believed to have reached more than 10,000

pieces. Amorsolo was an important influence on contemporary Filipino art and artists, even beyond the

so-called "Amorsolo school."[6] Amorsolo's influence can be seen in many landscape paintings by Filipino

artists, including early landscape paintings by abstract painter Federico Aguilar Alcuaz.[6]

In 2003, Amorsolo's children founded the Fernando C. Amorsolo Art Foundation, which is dedicated to

preserving Fernando Amorsolo's legacy, promoting his style and vision, and preserving a national

heritage through the conservation and promotion of his works.[11]

During the post-war period, Insular Life commissioned Amorsolo to create a series of paintings of

historical events for their offices (and which were subsequently used in Insular Life calendars from '50s to

'80s). [1].

Amorsolo paintings in the art market[edit]

At a 2001 auction in Wellesley, Massachusetts, two original 1950s paintings by Amorsolo, The

Cockfight and Resting Under the Trees, were bought by a New Jersey collector for $36,000 and $31,500,

respectively.[12] During a 2002 episode of Antiques Roadshow, a Sotheby's antiques appraiser estimated

that an attendee's signed 1945 rural landscape painting by Amorsolo could fetch between $30,000 and

$50,000 at auction.[13] At a 1996 Christie's auction, Amorsolo's The Marketplace went for $174,000.[14] In

April 2002, Portrait of Fernanda De Jesus was bought for US$ 377,947.

On November 30, 2009, the Family Gathering Fruit sold for USD 77,257 at Christie's. In December

2009, Fruit Gatherer was auctioned off in Maryland, in record-breaking manner, topping 19th and 20th

century European and American paintings. In May 2010, the highest priced Amorsolo painting was

auctioned off at Christie's for about US$ 440,000.

Major works

Félix Resurrección Hidalgo y Padilla (February 21, 1855 - March 13, 1913) was

a Filipinoartist. He is acknowledged as one of the great Filipino painters of the late 19th century,

and is significant in Philippine history for having been an acquaintance and inspiration for

members of the Philippine reform movement which included José Rizal, Marcelo del

Pilar,Mariano Ponce and Graciano López Jaena, although he neither involved himself directly in

that movement, nor later associate himself with the First Philippine Republic under Emilio

Aguinaldo.

His winning the silver medal in the 1884 Madrid Exposition of Fine Arts, along with the gold

win of fellow Filipino painter Juan Luna, prompted a celebration which was a major highlight in

the memoirs of members of the Philippine reform movement, with Rizal toasting to the two

painters' good health and citing their win as evidence that Filipinos and Spaniards were equals.

Contents

[hide]

1 Early life and education

2 Life abroad

3 Paintings and Drawings

4 Books

5 Sources

Early life and education[edit]

Hidalgo was born in Binondo Manila on February 21, 1855. He was the third of seven children

of Eduardo Resurrección Hidalgo and Maria Barbara Padilla. He studied in the University of

Santo Tomas. He studied law, which he never finished, received a bacheller en filosifia in March

1871. He was simultaneously enrolled at the Escuela de Dibujo y Pintura. In 1876, he previewed

his La barca The Native Boat, Vendedora de lanzones Lanzones Vendor and other paintings at

the Teatro Circo de Bilibid before they were sent to theCentennial

Exposition in Philadelphia, Pennsylvania of that year. In 1878, he painted the poignant and well-

crafted Los mendigos The Beggars.

Life abroad[edit]

In 1877, Resurreccion Hidalgo was awarded second place in the contest for best cover design for

the de luxe edition of Fr. Manuel Blanco's Flora de Filipinas ("Plants of the Philippines"). In

1879 he left for Spain as a pensionado in fine arts of the Ayuntamiento of Manila.

Las virgenes Cristianas expuestas al populacho, 1884, Metropolitan Museum of Manila.

His Las virgenes Cristianas expuestas al populacho (The Christian virgins Exposed to the

Populace), was awarded the ninth silver medal at the 1884 Exposición General de Bellas

Artes in Madrid. This showed a group of boorish looking males mocking semi-naked female

Christians, one of whom is seated in the foreground, with head bowed in misery. In the same

exposition, Luna's Spoliarium was awarded a gold medal.

In the Exposición General de las Islas Filipinas in Madrid in 1887, Hidalgo presented La barca

de Aqueronte ("The Boat of Charon"),1887, and Laguna estigia ("The Styx"), 1887, for which he

received a gold medal. La barca was again shown at the Exposition Universelle in Paris and was

awarded a silver medal by an international jury. In 1891 it was accorded a diploma of honor at

the Exposición General de Bellas Artes of Barcelona. This painting also received a gold medal in

the International Exposition of Fine Arts in Madrid during the commemoration of the 400th

anniversary of the discovery of America.

La Barca de Aqueronte, 1887, Museo Nacional de Pintura (Madrid).

He exhibited Adios al sol ("Farewell to, the Sun"), 1891 at the Exposición Internacional de

Bellas Artes in Madrid in that year and El crepusculo("The Dawn"), 1893, at the Universal

exposition in Chicago, also in that year. He showed both paintings again at the Exposición

Artistica de Bilbao in August 1894. In the Exposición Regional de Filipinas in Manila in January

1895, Hidalgo was represented by his paintings done in the grand romantic manner. In April of

the same year he exhibited Oedipus y Antigone("Oedipus and Antigone"), El violinista ("The

Violinist"), Cabeza napolitana ("Head of a Neapolitan"), Cabeza del viejo ("Head of an Old

Man"), Un religioso ("A Religious"), and others at the Salon at Champs-Élysées, Paris.

Hidalgo received a gold medal for his overall participation at the Universal Exposition in St.

Louis, Missouri in 1904. His El violinista was individually accorded a gold medal. In 1912, he

visited his relatives in Manila for six months, after which he hurried back to Paris. His mother,

who had not seen him for 30 years, wanted him to be with her in her last days but he had to

leave. The following year, Resurrección Hidalgo died at Sarrià, Barcelona where he went to

recuperate from failing health. His remains were brought to Manila, where it now lies entombed

in the family mausoleum at the Cementerio del Norte.

Paintings and Drawings[edit]

Laguna Estigia

 

Las Virgenes Cristianas Expuestas Al Populacho

 

La Barca de Aqueronte