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Flix Resurreccin Hidalgo y Padilla (21 February 1855 - 13

March 1913) was a Filipino artist. He is acknowledged as one of thegreat Filipino painters of the late 19th century, and is significant in

Philippine history for having been an acquaintance and inspiration formembers of the Philippine reform movement which included JosRizal, Marcelo del Pilar, Mariano Ponce and Graciano Lpez Jaena,although he neither involved himself directly in that movement, nor

later associate himself with the First Philippine Republic underEmilio Aguinaldo.

His winning the silver medal in the 1884 Madrid Exposition of FineArts, along with the gold win of fellow Filipino painterJuan Luna,

prompted a celebration which was a major highlight in the memoirsof members of the Philippine reform movement, with Rizal toasting

to the two painters' good health and citing their win as evidence thatFilipinos and Spaniards were equals.

Juan Luna y Novicio (October 23, 1857 December 7, 1899) wasan Ilocano Filipinopainter, sculptor and a political activist of the

Philippine Revolution during the late 19th century. He became one ofthe first recognized Philippine artists.

His winning the gold medal in the 1884 Madrid Exposition of FineArts, along with the silver win of fellow Filipino painterFlix

Resurreccin 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 healthand citing their win as evidence that Filipinos and Spaniards were

equals.

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 figuresin theatrical poses.

Fernando Amorsolo y Cueto (May 30, 1892 April 24, 1972) isone of the most important artists in the history of painting in thePhilippines.[1] Amorsolo was a portraitist and painter of ruralPhilippine landscapes. He is popularly known for his craftsmanship

and mastery in the use of light. Born in Paco, Manila, he earned adegree from the Liceo de Manila Art School in 1909

A typical Filipina country woman as portrayed by Amorsolo. This

painting also demonstrates his characteristic backlighting technique.

Amorsolo is best known for his illuminated landscapes,[4] whichoften portrayed traditional Filipino customs, culture, fiestas andoccupations. His pastoral works presented "an imagined sense ofnationhood 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."[5] In hispaintings ofFilipina women, Amorsolo rejected Western ideals of

beauty in favor of Filipino ideals[6] and was fond of basing the facesof his subjects on members of his family.[7] He said that the womenhe painted should have

"a rounded face, not of the oval type often presented to usin newspapers and magazine illustrations. The eyes should

be exceptionally lively, not the dreamy, sleepy type that

characterizes the Mongolian. The nose should be of theblunt form but firm and strongly marked. ... So the ideal

Filipina beauty should not necessarily be whitecomplexioned, nor of the dark brown color of the typical

Malayan, but of the clear skin or fresh colored type whichwe often witness when we met a blushing girl."[6]

Amorsolo used natural light in his paintings and developed thebacklighting technique, which became his artistic trademark and hisgreatest contribution to Philippine painting.[2]HYPERLINK \l

"cite_note-Encyclopedia-2"[3]HYPERLINK \l "cite_note-GlobalPinoy-7"[8] In a typical Amorsolo painting, figures areoutlined against a characteristic glow, and intense light on one part ofthe canvas highlights nearby details.[3] Philippine sunlight was a

constant feature of Amorsolo's work; he is believed to have paintedonly one rainy-day scene.[3]

Vicente Silva Manansala (January 22, 1910 - August 22, 1981) was

a Philippine cubist painterand illustrator.[1]

Manansala was born in Macabebe, Pampanga. From 1926 to 1930, hestudied at the U.P. School ofFine Arts. In 1949, Manansala received

a six-month grant by UNESCO to study at the Ecole de Beaux Arts inBanffand Montreal, Canada. In 1950, he received a nine-monthscholarship to study at the Ecole de Beaux Arts in Paris by the Frenchgovernment.[1]

Manansala's canvases were described as masterpieces that broughtthe cultures of the barrio and the city together. His Madonna of the

Slums is a portrayal of a mother and child from the countryside whobecame urban shanty residents once in the city. In his Jeepneys,

Manansala combined the elements of provincial folk culture with thecongestion issues of the city.[1]

Manansala developed transparent cubism, wherein the "delicatetones, shapes, and patterns of figure and environment are masterfully

superimposed". A fine example of Manansala using this "transparentand translucent" technique is his composition,Kalabaw (Carabao).[1]

Vicente Manansala, aNational Artist of the Philippines in VisualArts, was a direct influence to his fellow Filipino neo-realists:Malang, Angelito Antonio, Norma Belleza and Baldemor.[1] TheHonolulu Academy of Arts, the Lopez Memorial Museum (Manila),

the Philippine Center(New York City) and the Singapore ArtMuseum are among the public collections holding work by VicenteManansala.

Carlos V. Francisco (1914-1969)

In 1973, Carlos Botong Francisco was the second Filipino toreceive the title of National Artist in Painting, after Fernando C.Amorsolo. Also known as the Poet of Angono, he single-handedly

brought back the art of mural painting in the Philippines and was itsmost distinguished painter in his time. He was on the forefront ofmodernist art in the country, and with Victorio C. Edades and GaloB. Ocampo became part of The Triumvirate of modern art. His is

best known for his historical epics, and one of his favorite subjects isfisherfolk. His images of women came from mythology, history,legend, customs and contemporary life.

On November 4, 1914, Francisco was born to Felipe Francisco andMaria Villaluz in Angono, Rizal. He went to college at the University

of the Philippines School of Fine Arts, and before the Second WorldWar did illustrations for The Tribune and La Vanguardia. Although

he came from the same school of arts as Amorsolo, he veered awayfrom the style of the traditional artist and developed a modernist

style. Together with Victorio Edades and Fermin Sanchez, he paintedfor the Manila Grand Opera House and the Clover Theater. He and

Edades started mural-painting, and together they formed the ThirteenModerns, a group of modernists, in 1938.

After the Second World War, he taught at the University of SantoTomas School of Fine Arts at the same time that he was doing workin cinema with Manuel Conde. He worked as a scriptwriter for films

such as Genghis Khan, Putol na Kampilan, and TatlongLabuyo. In addition, he designed costumes for films such as

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Romeo at Julieta, Prinsipe Tenoso, Ibong Adarna, SieteInfantes de Lara, and the Juan Tamad series.

Francisco further enhanced his art in mural painting as he, togetherwith Edades and Ocampo, was commissioned to do several muralsfor lobbies and private residences. They developed the Filipinoimagery in their work, taking images from the customs and traditions

of the people. Some of the murals they worked on as a triumvirate areRising Philippines for the Capitol Theater, murals for the GoldenGate Exposition, the State Theater, and the private residences ofPresident Manuel Quezon, Ernesto Rufino and Vicente Rufino.

However, his major masterpiece is the mural he did for theBulwagang Katipunan of the Manila City Hall.

After Franciscos death on March 31, 1969, what came to be known

as the Botong Francisco School of Painting grew, exemplifyinglyricism and heroism.

Mauro Malang Santos ("Malang") is known for his colorful genrepaintings that feature simplified forms. Barrio Fiesta, commissionedin 1958 by the FGU-Insular Life Building, is among his paintings. Hewas born in Santa Cruz, Manila, on January 20, 1928. He started

taking drawing lessons underTeodoro Buenaventura when he wasten. He developed his reputation first as a cartoonist, then later as a

painter. Together with other well-known artists, he launched "Art forthe Masses" in 1966 in order for art to become accessible to more

consumers through prints at reasonable prices. He is also one of the1963 TOYM Awardees.

His art has lately become more abstractionist. Still, his works oftenportray his signature images of women in traditional dress with fruits

in baskets and bilao. Vivid colors straight from the tube, unmixed,continue to dominate his canvases. He still continues to experiment inthe use of various media. In January of 2007, he celebrated his 78th

birthday, as he has been doing yearly for some time, with an exhibit

of recent works at the Art Centerin SM Megamall.

Malang has four children with wife Mary San Pedro. Two of them,

Steve Santos and Soler Santos, are also painters.

A painter and multimedia artist, Jose T. Joya was named NationalArtist in Visual Arts in 2003. Having early traditionalist training, heeventually steered to a direction of his own. Known as an Abstract

Expressionist, he adopted the values of kinetic energy andspontaneity in painting, mastering the art of gestured paintings, where

paint is applied spontaneously using broad brush strokes. Aside frompainting, he also designed ceramic vessels, plates and tiles, and

worked with graphic arts like printmaking.

Son of Jose Joya, Jr. and Asuncion Tanig, Joya was born in Manilaon June 3, 1931. He became interested in sketching as early as the

age 11, and wanted at first to take up architecture, but decided not topursue it because of the math and science subjects. Under ascholarship, he entered the University of the Philippines College of

Fine Arts in 1950, where he had traditionalist mentors like GuillermoTolentino, Ireneo Miranda, Dominador Castaeda and VirginiaAgbayani. He earned his Bachelors Degree in Fine Arts in 1953, the

universitys first magna cum laude. After that, he studied in Madridfrom 1954 to 1955 under a grant from the Spanish governments

Instituto de Cultura Hispanica. He got his Masters Degree inPainting at the Cranbrook Academy of Art in Michigan where he

studied under Zoltan Zepeshy from 1956 to 1957 under a Fulbright-Smith-Mundt grant. He then received another grant, this time fromthe John D. Rockefeller III Fund and Ford Foundation, to study at thePratt Graphic Art Center in New York from 1967 to 1969.

He participated in the first Exhibition of Non-Objective Art in Tagalaat the Philippine Art Gallery in 1953, and then held his first one-man

show there in 1954. He was later sent to represent the country at theVenice Biennial in 1964. In 1981, he held a retrospective of hisworks at the Museum of Philippine Art.

Joya was president of the Art Association of the Philippines from1962 to 1965 and dean of the U.P. College of Fine Arts from 1970 to1978. In addition, he was chairperson of two delegations to China, in

1961 and 1972, and Amorsolo Professorial Chair at the U.P. in 1985.He also served as Head of the National Commission for Culture andthe Arts Committee on Visual Arts (NCCA-CVA) from 1987 untilhis death in 1995.

Guillermo E. Tolentino was born on 24 July 1890 in Malolos,Bulacan. His parents were Isidro Tolentino and Balbina Estrella.

Tolentino first learned how to draw while attending intermediateschool in Malolos, under his teacher, H.A. Bordner. He took up hissecondary studies at the Manila High School, then pursued a degree

in fine arts in 1915 at the University of the Philippines.

In 1919, Tolentino went to the United States to pursue further studiesas he had received a scholarship grant from Bernard Baruch of NewYork University's Beaux School of Arts. He graduated from New

York University with honors in 1921.

That same year, Tolentino traveled to Europe to visit the worked

renowned museums and art galleries in London and Paris. He thenwent to study in Regge Istituto di Belle Arti in 1922.

It was in Rome that Tolentino had his first solo-artist exhibition. Healso won second prize in an art competition for his composition Apat

na Mangangabayong Apokalipsis (Four Horsemen of theApocalypse).

He returned to the Philippines in 1924, and became a professor at theUniversity of the Philippines' School of Fine Arts in 1926. Later, he

would be appointed as the school's secretary.

In 1932, Tolentino married Paz Raymundo. They had a family of

seven children.

From 1953 to 1955 Tolentino also served as the School of Arts'

director. He retired in 1955 as professor emeritus.

In 1973, Tolentino was named National Artist for Visual Arts for hisworks in the field of sculpture. He died in 1976.

Guillermo Tolentino was known as a master in classical sculpture.

He received national recognition for his work on the BonifacioMonument, the design for which was chosen in a competition

organized by sculptor Vicente Francisco, and architects Andres Lunade San Pedro and Tomas Mapua. The call for designs for themonument was made on 29 August 1930.

Tolentino's winning design featured an obelisk with a bird of freedom

perched atop of it. Around the monument's base stand life-sizefigures of members of the Katipunan led by their leader Andres

Bonifacio.

The monument is now a major landmark of Caloocan City. One ofthe metro's light rail transit (LRT) stations is located near thelandmark, and is accordingly called Monumento.

Tolentino also sculpted the UP Oblation. The statue wascommissioned in 1935 by then University President Rafael Palma. It

was originally located at the UP Manila campus in Ermita, but wasmoved to the Diliman campus in celebration of the university's 40th

anniversary.

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Tolentino was also the artist who designed the medals for the RamonMagsaysay Awards, as well as the seal of the Republic of thePhilippines.

Napolen Isabelo Veloso-Abueva (born January 26, 1930), morepopularly known as Napolen Abueva, is a Filipino artist. He is a

sculptorgiven the distinction as the Philippines' National Artist forSculpture. He is also entitled as the "Father of Modern Philippine

Sculpture". He is the only Boholano given the distinction asNationalArtist of the Philippines in the field of Visual Arts.[1]

Napoleon Abueva, nicknamed Billy, was born on January 26, 1930 inTagbilaran, Bohol to Teodoro Abueva, a Bohol congressman andPurificacion (Nena) Veloso, president of the Womens AuxiliaryService. His father was a friend and contemporary of former

Philippine President Manuel Roxas and Ambassador Narciso Ramos.He was a member of the Provincial Board, and later became theProvincial Governor of Bohol. He ended his career as a Congressmanin 1934. Both of Abueva's parents died serving their country.

Abueva has six other brothers and sisters: Teodoro (Teddy), Jr., nowbased in New York, USA; Purificacion (Neny -deceased), married toAtty. Ramon Binamira (dec.) ofTagbilaran City; Jose Abueva(Pepe), former president of the University of the Philippines; Amelia

Martinez (Inday), now living in Chicago; Teresita (Ching) Floro, nowliving in Sydney, Australia; and Antonio (Tony), a landscape artistwho met a tragic fate aboard Princess of the Orient; his body has not

been found.

In 1943, at the height of the Second World War, Napoleon Abuevabecame an unwilling victim of the atrocities of the Japanese. With his

father, a leader in the underground movement, and his mother in thewomen's Auxiliary group, the family was hunted. His parents were

captured, tortured, and killed in Valencia. Billy was then only 14years old, but this did not spare him from the brutality of theinvaders. He accompanied his grandmother to Ilaya, Duero wherethey were captured by some Japanese soldiers. His grandmother was

later freed, but he was hog-tied, brought to Guindulman, and torturedfor more than a week. He lost his front teeth, and the blue-blackmarks on his wrists and ankles took weeks to heal.[1]

As a young boy, Billy studied at the Tagbilaran Elementary School,

and later at University of Southern Philippines, Holy Name College(now Holy Name University), and Rafael Palma College (now the

University of Bohol) before making it as a sculptor.

A home-grown talent, he was given a break in 1951 when he won thePura Villanueva-Kalaw Scholarship. He then took up a Bachelor'sdegree in Fine Arts at the University of the Philippines where he

graduated in 1953. This was followed by a Fulbright-Smith MundtScholarship in 1954-55, after which he got a foreign StudentsScholarship at the University of Kansas (1955-56). At the same time,he won another scholarship at theInstituto de Allende in Mexico City

which he did not avail due to conflict in schedule. It was also in 1955that he finished his Masters in Fine Arts at the Cranbook Academy of

Arts, U.S.. In 1956, he attended Harvard University for anotherscholarship grant.

At U.P, one of his mentors was Guillermo Tolentino, also a nationalartist, who created the oblation at the university entrance . Tolentinolater relegated to him the task of replicating the sculpture for theCampus of U.P. Los Banos.

Abueva has helped shape the local sculpture scene in the Philippines.Being adept in both academic representational style and modern

abstract, he has utilized almost all kinds of materials from hard wood(molave, acacia, langka wood, ipil, kamagong, palm wood and

bamboo) to adobe, metal, stainless steel, cement, marble, bronze,iron, alabaster, coral and brass.

In 1976, he was proclaimed asNational Artist of the Philippines forVisual Arts by then President Ferdinand Marcos. He was theyoungest recipient of the title at age 46.

Some of his major works includeKaganapan (1953), Kiss of Judas(1955), Thirty Pieces of Silver , The Transfiguration, Eternal Gardens

Memorial Park (1979), UP Gateway (1967), Nine Muses (1994), UPFaculty Center, Sunburst (1994)-Peninsula Manila Hotel, the bronze

figure of Teodoro M. Kalaw in front of National Library, and muralsin marble at the National Heroes Shrine, Mt. Samat, Bataan. Onemasterpiece he dedicates to the Boholanos is the Sandugo orBlood

Compact shrine in Bohol, Tagbilaran City, a landmark at the site ofthe first international treaty of friendship between Spaniards andFilipinos. This is now a tourist attraction in Boholprovince. Thisshrine is an expression of Abueva's awareness of his roots, and amanifestation of his artistic talents.

Abueva also performed the death maskprocedure ofoppositionleaderNinoy Aquino in 1983, as well as that ofFernando Poe, Jr. in

2004. Both masks are now displayed at the Center for KapampanganStudies, Hacienda Luisita, Tarlac. Incidentally, he also made a death

mask ofCardinal Sin.[2]

He is married to Cherry Abueva, a psychiatrist, and has three

children, Amihan,Mulawin, and Duero. Before his stroke, he used toteach at the Industrial Design department of the De La Salle-Collegeof Saint Benilde School of Design and Arts.[3]

"Thong Song"

This thing right hereIs lettin all the ladies knowWhat guys talk aboutYou knowThe finer things in lifeHahahaCheck it out

Ooh dat dress so scandalousAnd ya know another nigga couldn't handle itSee ya shakin that thang like who's da ishWith a look in ya eye so devilish

UhYa like to dance at all the hip hop spotsAnd ya cruise to the crews like connect da dotsNot just urban she likes the popCuz she was livin la vida loca

[BRIDGE]

She had dumps like a truck truck truckThighs like what what whatBaby move your butt butt buttUhI think to sing it again

She had dumps like a truck truck truckThighs like what what whatAll night longLet me see that thong

[CHORUS]

I like it when the beat goes da na da naBaby make your booty go da na da na

Girl I know you wanna show da na da naThat thong th thong thong thongI like it when the beat goes da na da naBaby make your booty go da na da naGirl I know you wanna show da na da naThat thong th thong thong thong

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