Fernando Amorsolo y Cueto (May 30, 1892 – April 26, 1972) is

one of the most important artists in the history of painting in the Philippines.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.

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CARLOS VILLALUZ FRANCISCO FRANCISCO, CARLOS VILLALUZ

aka Botong b. Angono, Rizal 4Nov 1914 d. Angono, Rizal 31 Mar1969. National Artist in Painting. He is the son of Felipe Francisco and Maria Villaluz of Angono, Rizal. Francisco studied at the University of the Philippines (UP) School of Fine Arts. Before the war, he did illustrations for the Tribune and La Vanguardia, and later, with Victorio Edades and Fermin Sanchez painted sets for the Manila Grand Opera House and the Clover Theater.

He also formed a group of modern artists called the Thirteen Moderns in 1938. After WWII, Francisco taught at the University of Santo Tomas, simultaneously working in cinema with Manuel Conde, as scriptwriter of Genghis Khan, Putol na Kampilan (Broken Sword), and Tatlong Labuyo (Three Wild Roosters). He also designed costumes for Romeo at Julieta (Romeo and Juliet), as well as Prinsipe Tenoso (Prince Tenoso), lbong Adarna (Adarna Bird), Siete Infantes de Lara (Seven Devils), and the Juan Tamad series.

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Vicente Silva Manansala (January 22, 1910 - August 22, 1981) was a Philippine cubist painter and illustrator. Manansala was born in Macabebe, Pampanga. From 1926 to 1930, he studied at the U.P. School of Fine Arts. In 1949, Manansala received a six-month grant by UNESCO to study at the Ecole de Beaux Arts in Banff and Montreal, Canada. In 1950, he received a nine-month scholarship to study at the Ecole de Beaux Arts in Paris by the French government.[1]

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Juan Luna y Novicio (October 23, 1857 — December 7, 1899) was an Ilocano Filipino painter and a political activist of the Philippine Revolution during the late 19th century. He became one of the first recognized Philippine artists. Regarded for work done in the manner of the Spanish 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.

Born in the town of Badoc, Ilocos Norte in the northern Philippines, Juan Luna was the third among the seven children of Don Jiro Dacoco 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.

He was born in Paco, Manila on October 29, 1910. While a boy of 16 in high school, he worked as photo-engraver at the Banaag Press in Sta. Cruz, Manila, which was later bought by Ramon Roces of Liwayway. Velasquez took courses in cartooning and advertising at the Federal School of Arts of America. In 1935, Velasquez was promoted to Chief Advertising Artist for six sister magazines: Liwayway

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