The Progress of Medicine in the Philippines (Carlos Francisco, 1961, oil on canvas)

Gallery XVI, a permanent exhibit at the third floor of the National Museum of Fine Arts, is dedicated to “The Progress of Medicine in the Philippines” (Pag-unlad ng Panggagamot sa Pilipinas), a quadtych of four large-scale, oil on canvas paintings by celebrated muralist and National Artist for the Visual Arts (1973) Carlos “Botong” Francisco (1912-1969) that depicts the evolution of healing practices in the Philippines from the pre-colonial period tribal practices to the modern period.

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Gallery entrance

Especially commissioned in 1953 by Dr. Agerico Sison, then director of the Philippine General Hospital (PGH), these were once put on display at the entrance hall lobby.  However, these paintings were constantly exposed to the elements, requiring them to undergo restoration. Eventually, they were moved to the National Museum. The panels were restored by Tomas Bernardo in 1974 and 1991 and by a team supervised by Orlando Abinion from 2006 to 2007.

Pre-Colonial Period

Spanish Era

Two high-quality reproductions of these paintings, created by photographer Benigno T. Tod III, are still on display at two sides of the PGH lobby. Declared as a National Cultural Treasure by the National Museum of the Philippines on September 21, 2011, these important works are on loan to the National Museum by the University of the Philippines to secure their preservation.  Each painting measures 2.92 x 2.76 m. (9.71 x 8.92 ft.).

American Occupation

Modern Era

The first painting depicts a babaylan (female shaman), with arms uplifted, leading a healing ritual in Pre-Colonial Philippines.  The second painting, illustrating the arrival of the Spaniards in the Philippines, features two monks, one holding a plant specimen in his right hand while the other monk is deep in study behind him.  Both are surrounded by characters (manananggal, the falling bodies of “tormented and oppressed” people, a tortured child and a sorcerer holding a voodoo doll) representing superstitious beliefs and practices of the people.

Ina ng Lahi (Mother of the Race) (Jose P. Alcantara)

The third painting, illustrating the American Occupation which brought a new focus on public health and sanitation, depicts two men hiding under a plant to avoid inoculation while a group of men are collecting dead rodents after fumigation. The fourth painting illustrates the distinguishing characteristics of modern medicine like surgery, radiation, medical devices, laboratory analysis and hospitals.  The four panels are connected by common elements such as flora and clouds.

Ina ng Ani (Mother of Harvest) (Jose P. Alcantara, 1951, wood)

Across from Botong’s large-scale painting is “Philippine Folklore,” a large-scale wood relief series by renowned sculptor Jose P. Alcantara (1911-2005), done with the help of several hired and trained woodcarvers from Paete (Laguna), from the Philam Life Collection which was part of the right side of a 1,536 cm. (50-ft.) long (the length of the theater’s orchestra), multi-panel piece which was originally installed at the outside walls of the 780-seat Philam Life Auditorium (designed by National Artist for Architecture Carlos Arguelles) along U.N. Avenue, Ermita, Manila in 1961.

Philippine Folklore (Jose P. Alcantara)

Declared as an “Important Cultural Property” by the National Museum of the Philippines on June 27, 2019, these narra wood reliefs depict various scenes that represent Filipino culture and traditions. On March 14, 2019, it was unveiled at Gallery XVI by the Philam Foundation.  The wood carving shows a continuous scene depicting Filipino-Christians and Muslims doing their own festivities while staying connected to each other.

Muslims showcasing their traditional dance and playing brass instruments

At the left side, huddled Christians are seen hearing mass inside a Baroque church.  Cockfights and metal craftsmen at work are also depicted.  Past the balangay at the center, the lifestyle shifts to festive Muslims showcasing their traditional dance and playing brass instruments.

Scene depicting cockfights and metalsmiths at work

At the center of the gallery are two prize-winning (Art Association of the Philippines) wooden sculptures of Jose P. Alcantara –  Ina ng Lahi (Mother of the Race, 1951, narra wood), special prize (1951); and Ina ng Ani (Mother of Harvest, 1951), third prize winner (1954).

President Sergio Osmena (1952, wood)

Sleepy Santo Nino 400 Years After (1965, wood)

Mounted on a wall near the entrance are a five wooden sculptures – Sleepy Santo Nino 400 Years After (1965), made in commemoration of 400^th anniversary of the arrival of Miguel Lopez de Legaspi in 1565, marking the beginning of Spanish colonization; President Sergio Osmena (1952), awarded first prize, in the woodcarving category, by the Art Association of the Philippines in 1952; Lapu Lapu (1953); The “Guy” (President Ramon Magsaysay, 1954); and “Ike” (US President Dwight D. Eisenhower, 1953), made in honor of the election of Eisenhower as 34^th president of the U.S. in 1953, awarded first prize, in the woodcarving category, by the Art Association of the Philippines in 1953).

Lapu Lapu (1953, wood)

The Guy (President Ramon Magsaysay) (1954, wood)

Gallery XVI: Philippine General Hospital Hall, 3/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery XII – Eskultor ng Lahing Filipino: Honoring the Life and Work of Guillermo Tolentino

Gallery XII – Eskultor ng Lahing Filipino:  Honoring the Life and Work of Guillermo Tolentino, a permanent exhibition (opened last July 24, 2013) at the second floor of the National Museum of Fine Arts, features the work of National Artist of the Philippines for Sculpture (1973) Guillermo E. Tolentino.  The title eskultor ng lahing Pilipino was taken from Jose Corazon de Jesus‘ 1930 poem Ang Bantayog ng Bayani.

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Gallery Entrance

Tolentino dominated sculpture in the 1920s to 1970s and the decades beyond, particularly in portraiture and human forms.  He followed the Classical style and mainly used plaster and metal to create his sculptures.  Originally launched in 2013, on display are some of his rarely seen works from private lenders and from the National Fine Arts Collection.

Foreground: the two models and casts of the Commonwealth Triumphal Arch

Hanging from the walls are recognitions awarded to Tolentino by the University of the Philippines School of Fine Arts Annual Exhibitions from 1910 to 1916; a pencil sketch on paper of Liberty Granting Independence to Filipinos; technical drawings of the column and base of the Bonifacio Monument; Tolentino’s U.P. School of Fine Arts diplomas for Sculpture and Painting; Tolentino’s 1908 diploma from the Royal Higher Institute of Fine Arts in Rome; Tolentino’s 1931 commemorative diploma from the Exposition Coloniale Internationale in Paris; and a 1931 self-portrait of Tolentino.

Galeria de Filipinos Ilustres (lithograph, 1933)

The 1933 lithograph of Galeria de Filipinos Ilustres , a group portrait of heroes, was drawn by Tolentino when he was still in high school and attending classes at the UP School of Fine Arts.  It was later printed in Liwayway Magazine.

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UP School of Fine Arts Diplomas for Sculpture and Painting

Top left is Tolentino’s 1908 diploma from the Royal Higher Institute of Fine Arts in Rome. Below it is Tolentino’s 1931 commemorative diploma from the Exposition Coloniale Internationale in Paris. At right is a pen on paper self-portrait of the artist(1931)

At the center of the gallery are the two scaled models and casts, from the 14-piece collection of Frederick Dy, for the Commonwealth Triumphal Arch which would have been one of the iconic monuments of Manila, similar to the Arc de Triomphe de l’Etoile in Paris, France. Meant to commemorate the years of Filipinos lobbying for the independence of the Philippines to be recognized, it was planned to be situated at the intersection of Plaza Burgos and Taft Avenue, near the Manila City Hall and the Old Legislative Building (now the National Museum of Fine Arts).

At center are the technical drawings of the column and base of the Bonifacio Monument. Flanking it are busts of Pres. Manuel L. Quezon and American Gen. Douglas MacArthur

Commissioned by the UP Alumni Association in 1935 (the first year of the 10-year transition of the Philippines from an American occupied territory to an independent nation), Tolentino designed a humongous structure that would have featured bas-relief statues of ordinary Filipinos seemingly supporting the whole arch. Approved by Pres. Manuel L. Quezon and the National Assembly, the budget for the arch was set for PhP500,000.00 and First Lady Aurora Aragón Quezon already laid the first trowel of cement on the foundation. Unfortunately, the Japanese imperial army invaded the Philippines in 1941 and the construction was never continued.

L-R: Marble statues of A Praying Cherub (ca. 1920) and A Praying Angel (1935)

Behind the Commonwealth Triumphal Arch is the 1973 life-size statue of Don Quintin Paredes as Speaker of the House (polychrome plaster of Paris). Other statues include a marble sculpture of his daughter Lualhati on a granite pedestal; a polychrome concrete statue of a Seated Girl Reading; marble statues of a Praying Cherub (ca. 1935), a Praying Angel (ca. 1920) and a Girl Holding a Wreath (1920); and an undated model for the monument and head of Dr. Nicanor Reyes (polychrome plaster of Paris).

An undated marble statue, on granite pedestal, of Lualhati, Tolentino’s daughter, when she was six years old. Lualhati, who now resides in Germany, is among Tolentino’s seven children with his wife, Paz Raymundo. This is the only sculpture of the artist’s family member in the National Fine Arts Collection.

The rest of the display are busts, mostly made of polychrome plaster of Paris (some with polychrome resin and plaster of Paris), of Philippine presidents (Manuel L. Quezon, Manuel A. Roxas, Emilio Aguinaldo, Ramon Magsaysay and Ferdinand E. Marcos); local heroes (Jose Rizal, Lapu-Lapu, Epifanio de los Santos and Andres Bonifacio); soldiers (Col. Salvador Reyes and American Gen. Douglas MacArthur); industrialists (Andres Soriano Sr.); politicians (Quintin Paredes, Jaime de Veyra), notable women (Luisa Marasigan, Consolacion Singian); American writer and Filipinologist A.V.H. Hartendorp; and artists (Crispulo Zamora).

Life-size statue of Don Quintin Paredes as Speaker of the House (polychrome plaster of Paris, 1973)

Most of the work and memorabilia presented in the gallery were collected by Tolentino’s family (formerly displayed at the Pasig City Museum) and several private patrons and institutional partners of the National Museum of the Philippines (Security Bank chairman Frederick Dy, Judy Araneta-Roxas, Ernesto and Araceli Salas, and Nestor Jordin).

Gallery XII – Eskultor ng Lahing Filipino:  Honoring the Life and Work of Guillermo Tolentino: Security Bank Hall, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery XI (Drawings of Fernando C. Amorsolo)

Gallery XI – Drawings of  Fernando C. Amorsolo, at the second floor of the National Museum of Fine Arts, features over 100 black-and-white pencil and ink sketches and oil studies of Fernando Cueto Amorsolo, the first National Artist of the Philippines.

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Gallery entrance

An incessant sketch artist, Amorsolo often drew sketches at his home, at Luneta Park and in the countryside. He drew the people he saw around him, from farmers to city-dwellers coping with the Japanese Occupation.  As seen in his paintings, Amorsolo’s impressionistic tendencies were at their height in his sketches. His figures were not completely finished but were mere “suggestions” of the image.

These sketches and oil studies were done before Amorsolo did the final and actual artwork. These include rural landscapes and seascapes, portraits, indigenous people and genre and everyday scenes that depict life in the countryside.

Details of Portraits (graphite of pen and ink on paper, undated)

The gallery also displays Painted Window of Christ the King, a stained glass masterpiece, done on a Gothic-style window frame, by painter Cesar Amorsolo (1903-1998), Amorsolo’s nephew and his assistant for 30 years.

Landscapes and Seascapes (graphite on paper, undated)

This triptych was commissioned for a private chapel in Manila after World War II, remaining there until its transfer and subsequent donation to the National Museum of the Philippines.

Nudes – Indigenous People and Historical Scene (graphite on paper, undated)

It features Christ the King, a classical Christian representation based on several passages of Scripture, seated in the central panel, flanked by the archangels Rafael and Gabriel, bowing low, on the glass side panels.

Painted Window of Christ the King (Cesar Amorsolo)

Gallery XI – Drawings of Fernando C. Amorsolo: Society for the Preservation of Philippine Culture (SPPC) Hall, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery IX (Early 20th Century Philippine Portrait Hall)

Gallery IX, a permanent exhibit at the second floor of the National Museum of Fine Arts, features a collection of works of portraiture and Filipino types by artists under the Classical Realist School during 1903 to 1960 and works of portraiture by artists that are the pioneer and prolific during that period.

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Oil on canvas portraits of Luisa Reyes Vergel de Dios (1956), Alicia Calleja Castro (1956) and Antonio Julio Trullench y de la Orden (1947), all by Fernando C. Amorsolo

National Artist Fernando Amorsolo (1892-1972), best known for his illuminated landscapes (which often portrayed traditional Filipino customs, culture, fiestas and occupations), was also a most sought-after portrait artist with commissions from many illustrious families.

Portrait of Elpidio Quirino as President (Fernando Amorsolo y Cueto, 1950, oil on canvas)

Portrait of Francis B. Harrison (Fernando Amorsolo y Cueto, 1936, oil on canvas)

On display in this gallery are his oil portraits of Presidents (General Emilio Aguinaldo, Manuel A. Roxas, Jose B. Laurel and Elpidio Quirino), American officials in the Philippines (Paul V. McNutt, Francis B. Harrison and Frank Murphy) and other prominent individuals such as Julieta Abad Rufino, Antonio Julio Trullench, Alicia Calleja Castro,  Susana Bernardo Ramos, Felicidad Cruz Castro, Luisa Reyes Vergel de Dios, etc.).

Dress and Portrait of Felicidad Cruz Castro

Portrait and Suit of Manuel A. Roxas

The suit worn by President Manuel Roxas and the dresses worn by Susana Bernardo Ramos and Felicidad Cruz Castro, for their portraits by Fernando Amorsolo, are on also mounted on mannequins beside the portraits,

Studio furniture of Fernando Amorsolo. On the easel is the unfinished portrait of Florencia Singson Gonzales-Belo

Also on display are his assorted studio furniture such as his chair, painting trolley and easel with the unfinished portrait of Florencia Singson Gonzales-Belo,the mother of Vicky Belo.

Country Lass (1933) and Head of a Spanish Lady (1918), both type studies by Fabian de la Rosa

Fabian de la Rosa (1869-1937), the uncle and mentor to Fernando Amorsolo, and to his brother Pablo Amorsolo (1898-1945, his Mestiza, ca. 1920 Portrait of Fabian de la Rosa and Portrait of Padre Mariano Gomez are  also on display), is regarded as a “master of genre” in Philippine art. He is well known for his realistic portraits.

Portraits, by Fabian de la Rosa, of Gertrudis Gorricho viuda de Pardo de Tavera (oil on canvas) and Baldomera Alveyra (1919, oil on canvas)

On display here are his portraits of Apolinario Mabini (1911), Baldomera Alveyra (1919), William Atkinson Jones,  Gertrudis Gorricho (widow of Pardo de Tavera) and Juan Luna.  Also on display are type studies of a Country Lass (1933) and Head of a Spanish Lady (1918).

Mestiza (Pablo Amorsolo y Cueto, 1943, oil on canvas)

Portraits of Padre Mariano Gomez and Fabian de la Rosa, both by Pablo C. Amorsolo

Pedro V. Coniconde (1901-1974) was an art director of the Philippine Herald and illustrator for the Tribune whose art specializes in Spanish-style cartoon/illustrations.

Studies for portraits of Jose Rizal, Andres Bonifacio and Emilio Aguinaldo (Pedro Coniconde, 1953, oil on board)

Portrait of Carlos P. Garcia as President (Pedro V. Coniconde, 1958, oil on canvas)

On display in the gallery are a oil on board studies for the portraits of Jose Rizal, Andres Bonifacio and Emilio Aguinaldo and oil on canvas portraits of presidents Ramon Magsaysay (195) and Carlos P. Garcia (1958), all rendered in incredibly fine hatchings, cross-hatchings, and stipplings.

Portraits of Jose Corazon de Jesus (1938) and Francisco Balagtas (1935), both oil on canvases by Zosimo Dimaano

Zosimo F. Dimaano (1895 -1942), who took lessons in art under Ramon Rivera and worked with Fernando Amorsolo (1892-1972) as a designer at Pacific Commercial and in the Bureau of Printing’s photo-engraving section, also worked in several photo studios in Santa Cruz, Manila.

Portrait of Andres Bonifacio (Zosimo F. Dimaano, ca. 1935, oil on canvas)

Portrait of Padre Jose Burgos (Zosimo F. Dimaano, ca. 1935, oil on canvas)

On display in this gallery are his oil on canvas portraits of Andres Bonifacio (ca. 1935), Apolinario Mabini (ca. 1935), Francisco Balagtas (ca. 1935), Graciano Lopez Jaena (ca. 1935), Jose Corazon de Jesus (1938) and Padre Jose Burgos (ca. 1935).

Portrait of Teodoro P. Buenaventura (Romeo B. Enriquez, 1948, oil on canvas)

Portrait of Manuel L. Quezon as President (Romeo B. Enriquez, 1948, oil on canvas)

Romeo B. Enriquez (b. 1920), a sought-after portraitist with a studio-gallery along Mabini Street, has won first prizes in several painting competitions. On display are his 1948 oil on canvas portraits of artist Teodoro Buenaventura and Philippine presidents Manuel L. Quezon and Sergio Osmena.

Filipina Beauty (Jorge Pineda, ca. 1920, pastel on paper)

Portrait of Isabelo de los Reyes (Ramon Peralta y Resurrecion)

Also included are the works of pioneers and prolific artists of the period as well as of younger artists who would be counted as belonging to the “Amorsolo School.”

Portrait of Emmanuel Pelaez as Vice-President (Isaac Eustaquio, 1964, oil on canvas)

Portrait of an Old Woman (Araceli Limcaco Dans, 1947, oil on canvas)

On display are Country Lass (ca. 1920, oil on canvas) and Filipina Beauty (ca. 1920, pastel on paper) of Jorge Pineda (1879-1946); the Portrait of Isabelo de los Reyes and Portrait of Juan Luna y Novicio of Ramon Peralta (1877-1940); the oil on canvas portraits of Maria Lourdes L. Estrella (1953) and Santanina Tillah Rasul (1951) and the watercolor on paper portrait of Fabian de la Rosa (1937) of Ireneo I. Miranda (1896-1964); the oil on canvas portraits of Guillermo E. Tolentino (1948), Jose B. Laurel as Senator and Statesman (1953), Amado V. Hernandez (1948), Elpidio Quirino as President (1948) and Manuel L. Quezon as President (1949) of Crispin V. Lopez (1903-1985); Portrait of a Man (1947, pastel on paper) of Benjamin P. Alano (1920 – 1991); Portrait of an Old Woman (1947, oil on canvas) of Araceli Limcaco Dans (b. 1929);  The Soul of the Earth (1947, oil on canvas) of Kapampangan painter Jose B. David (1909 – 1990); the oil on canvas portraits of Carlos P. Garcia as President (1964), Emilio Aguinaldo as Elder Statesman (1964, oil on canvas) and Emmanuel Pelaez as Vice-President (1964) of Isaac Eustaquio (1888 – 1969); Portrait of Lope K. Santos (ca. 1915, oil on canvas) of Ilonggo painter Pedro Z. Respall (1873 – 1919); and A Filipina Beauty (1931, pastel on paper) of Vicente Alvarez Dizon (1905 – 1947).

Portrait of a Muslim Man (Oscar T. Navarro, 1948, oil on canvas)

A Filipina Beauty (Vicente Alvarez Dizon, 1931, pastel on paper)

Also on display, by unknown artists, is the Portrait of a Woman (charcoal on paper) and Trinidad Pardo de Tavera (1926, oil on canvas).

Portrait of a Woman (unknown artist, ca.1925, charcoal on paper)

Portrait of Trinidad Pardo de Tavera (unknown artist, 1926, oil on canvas)

Gallery IX: Early 20th Century Philippine Portrait Hall, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.

Gallery VIII

Gallery VIII, a permanent exhibit at the second floor of the National Museum of Fine Arts, features 20 paintings by Filipino artists who want to show the painful and hard life during the Imperial Japanese Occupation during 1941 to 1945, liberation of the Philippines by American and Filipino forces and the damage that happened in Manila during the war.  Unofficially dubbed as the “War Gallery,” it contains images that may be disturbing to some viewers due to its disturbing, violent and graphic scenes.

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Gallery entrance

National Artist for the Visual Arts (1972) Fernando Cueto Amorsolo (1882 – 1972), a known portraitist and a painter of rural Filipino life, also witnessed and experienced the stark reality and ravages of World War II, choosing city-dwellers coping with the Japanese Occupation as one his subjects. Amorsolo spent his days at his home near the Japanese garrison and 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.

Burning of Manila (Fernando C. Amorsolo, 1942)

Due to this time of war, from his light and peaceful creations, he shifted to scenes of destruction.  The 9.8 x 12.5 in. Burning of Manila (1942) depicts Manila ravaged and almost engulfed in flames. Upon closer inspection, you can also see Filipinos fleeing from the scene, carrying their meager possessions.

Ruins of the Legislative Building (Fernando C. Amorsolo, 1945, oil on canas)

The 31.4 x 39 cm. Ruins of the Legislative Building (1945, oil on masonite) is a study of stark contrast where destruction is set against the nonchalant beauty of the sky, a silent yet poignant testament to the human folly  and the transitory nature of reality.

Burning of Sto. Domingo Church (Fernando C. Amorsolo, 1942, oil on canvas)

The Burning of Sto. Domingo Church (1942) captures, on canvas, the magnitude and intensity of the fire through his trademark application of hues, texture and perspective, as well as the concerted effort of the firemen and the Dominican clergy to save the sanctuary.

Ruined Gate of Fort Santiago (Nena L. Saguil, 1949, oil on canvas) (1)

Simplicia “Nena L. Saguil (1914 – 1994), a pioneering female abstract painter, has two oil on canvas paintings on display, both painted in 1949 – Ruined Gate of Fort Santiago (a small but quite powerful reminder of the importance of preserving our built heritage from the vagaries of war) and Ruins of Quiapo Street.

Ruins of Quiapo Street (Nena L. Saguil, 1949, oil on canvas)

Right after the Liberation of Manila in 1945, when the country was still reeling from the shock of over 100,000 men, women and children slaughtered, bayoneted and senselessly butchered in Manila, Nueva-Ecija born Diosdado Magno Lorenzo (1906 – 1984), well known for his expressionist landscapes rendered in cool, bright and striking tones of white and blue, did his 200 x 173 cm. Rape and Massacre in Ermita (1947, oil on canvas), one of his largest artworks.

Rape and Massacre in Ermita (Diosdado M. Lorenzo, 1947, oil on canvas)

A particularly haunting image of violence, it depicts a typical scenario during World War II where Imperial Japanese soldiers attack a Filipino family’s home in Ermita. Lorenzo showed, with harrowing clarity, how Filipino men were slain, women were raped, stabbed and shot, and helpless children were orphaned when Japanese soldiers attacked. In the background, a woman with long hair is naked and hurt.

Ruins of Escolta (Diosdado Lorenzo, 1946)

Lorenzo also portrayed the destruction wrought on the city’s business district in his Ruins of Escolta (1946) and Ruins of Sales Street, Quiapo.

Ruins of Sales Street, Quiapo (Diosdado M. Lorenzo, 1946, oil on wood)

Dominador Hilario Castaneda (1904 – 1976), a contemporary of Fernando Amorsolo, diverged from the characteristic style of the Amorsolo School and a different direction, especially in terms of color. On display in this gallery are four of his paintings that depict the horrors of war as a personal one in this dark era – Doomed Family (1945), Death March (1948, oil on canvas), Ravaged Manila (1945, oil on canvas) and Fugitive from the Japanese (1944, oil on board).

Doomed Family (Dominador Castaneda, 1945, oil on lawanit)

His Doomed Family is a harrowing piece showing a dead Filipina lying exposed while the rest of the family are bound and bruised.

Death March (Dominador Castaneda, 1948, oil on canvas)

The eye-catching Death March shows dead Filipino soldiers lying on the road while other soldiers help each other get through the Death March.

Ravaged Manila (Dominador Castaneda, 1945, oil on canvas)

Ravaged Manila, looking dull, lifeless and full of negative emotions from the scene, shows children slaughtered on the ground.

A Tragic Lesson (The Fall of Bataan) (Gene Cabrera,1957, oil on canvas)

A Tragic Lesson (The Fall of Bataan, 1957, oil on canvas) by Gene Cabrera (1919 – 1988) features skulls that stare out into the audience as a reminder of the devastation that can occur when people are at war. The title “A Tragic Lesson” gives it newfound relevance in these tumultuous times, reminding those who view it that we’ve been here before and this is what happened.

Japanese Atrocities (Manuel Antonio Rodriguez, Sr., 1945, oil on canvas)

Japanese Atrocities (1945, oil on canvas) of Manuel Antonio Rodriguez, Sr. (1912 -2017) shows a Japanese soldier about to behead a father, while the mother and child beg for his life.

Evacuation (Oscar Espiritu, 1949, oil on canvas)

Evacuation (1949), an oil on canvas of Oscar R. Espiritu (1895 – 1960), shows the savagery of war that left many people homeless, forcing to flee the war-torn city. 

Capas (Demetrio Diego, 1948, oil on canvas)

Capas (1948, oil on canvas), of Demetrio Diego (1909 – 1988), the former chief artist of the Sunday Times Magazine, depicts the slow and agonizing deaths of Filipino prisoners-of-war in a Tarlac internment camp.  The prisoner in the center, in a noble but futile act, seems to check on the condition of the companion beside him while a malnourished man, seated at a bamboo bed, seems ready to die.

Graveyard Scene (Carlos Valino, Jr., undated, oil on canvas)

Other artists and paintings featured include Graveyard Scene (undated, oil on canvas) of Carlos P. Valino (1926 – 2008); and Mealtime at the Prison Camp (1945, oil on canvas) of Wenceslao S. Garcia (1915 – 1979).

Mealtime at the Prison Camp (Wenceslao Garcia, 1945,oil on canvas)

The joys of liberation from the Japanese are portrayed by the Landing of Liberation Forces in Lingayen (1940, oil on wood) of Eduardo Perrenoud, Jr. (1913 – 1995) and  Leyte Landing (1948, oil on board) of Romeo V. Tabuena (1921 – 2015) 

Landing of Liberation Forces in Lingayen (Eduardo Perrenoud, 1940, oil on wood)

Landing of Liberation Forces in Lingayen (Eduardo Perrenoud, 1940, oil on wood)

Aside from paintings, also on display are sculptural pieces such as Bataan Death Marcher, undated, metal and wood) of Gene Cabrera and Homage to Franklin Delano Roosevelt, 1946, wood) by Graciano T. Nepomuceno (1881 – 1974).

Bataan Death Marcher (Gene Cabrera, undated, metal and wood)

Homage to Franklin Delano Roosevelt (Graciano T. Nepomuceno, 1946, wood)

A Plea for Freedom from Fear (1949, plaster of paris), by Fermin Gomez, is a reflection of the anguish of an entire generation that lived through the horrors of war.  It depicts a destitute mother, holding her sleeping baby with two of her children crouching on her skirt in fear (with another lifeless child on the ground), standing and shouting, pleading with tearful, defiant eyes.

A Plea for Freedom From Fear (Fermin Gomez, 1949, plaster of paris)

Gallery VIII: Silvina & Juan C. Laya Hall, North Wing Galleries, House Floor, 2/F National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.

Gallery XIII (Vicente and Carmen Fabella Hall)

Gallery XIII, at the third floor of the National Museum of Fine Arts, features works by National Artist for Sculpture (1976) Napoleon Veloso Abueva (1930-2018) and a monumental painting by National Artist for Painting (1973) Carlos V. “Botong” Francisco (1912 – 1969).

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Gallery entrance

The Manila Pavilion Reliefs are two large molave wood panels Abueva made with the assistance of Renato Rocha (1937-2001) and Jose Mendoza (born 1941) portraying Rajah Sulayman, His Court and Palisades of Maynilad (1967), and Miguel Lopez de Legaspi and the Founding of Manila (1967).

Rajah Sulayman, His Court and Palisades of Maynilad (molave wood, 1961)

Miguel Lopez de Legaspi and the Founding of Manila (molave wood, 1967)

Other Abueva works on display include Family (wood, 1952), Mother and Child (adobe, 1950), Resurrection (XIV Station, 1989), Torso (adobe, 1952); Kiss of Judas (oak wood, 1955), a gift of Mr. Patrick Eugenio; and Kaganapan (Fulfilment, 1953), a bronze cast of the original marble sculpture.

Family (wood, 1952)

Kaganapan (Fulfilment, 1955)

Mounted at one side of the gallery is monumental, 1968 oil on canvas painting of Carlos V. “Botong” Francisco called Timbulan ng Laya at Diwang Dakila (Beacon of Freedom and Nobility of Spirit), a National Cultural Treasure (1996).

Kiss of Judas (wood, 1955)

Resurrection (XIV Station, 1989)

The fourth painting in the series The Filipino Struggles Through History (or History of Manila), consisting of three panels, was commissioned by Mayor Antonio J. Villegas for the end wall of the main hall (Bulwagan Katipunan) of the Office of the Manila Mayor at the Manila City Hall.

Torso (adobe, 1951)

Mother and Child (1950), sculpted from adobe (volcanic tuff), shows an abstract figure of a woman embracing a child in a sitting position. The child clings to the head of his mother.

It depicts Mayor Villegas’ progressive vision for the City of Manila grounded on a proud past of Filipino leadership and the fervent nationalism that he vigorously promoted and is well remembered for.

Timbulan ng Laya at Diwang Dakila (Carlos V. Francisco)

Gallery XIII: Vicente and Carmen Fabella Hall, 3/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.

Gallery IV – Paintings of the Philippine Colonial Tradition of Portraiture, at the second floor of the National Museum of Fine Arts, exhibits more than 30 portraits that showcase the status of the living and memories of the dead. The portraits were the masterpiece of painters coming from two generations – Severino  Flavier Pablo (1805 – 1875), Justiniano Asuncion y Molo (1816 – 1896, a prize student of Damián Domingo in Academia de Dibujo y Pintura), Simon Flores Y de la Rosa (1839 – 1902), Isidro Arceo (1840 – 1900), Hilarion Asuncion y Eloriaga (ca. 1840 – ?), Vicente Villaseñor (1825 – ?) and other unknown artists.

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Portraits done by Simon Flores y de la Rosa, the first Filipino to garner a prize from an international exhibition (silver medal in 1876 at the Philadelphia Universal Exposition for his painting La Musica del Pueblo), are highly valued for their outstanding craftsmanship and attention to detail.

Portraits of Domingo Jimenez and Leticia Jimenez, both by an unknown artist (late 19th century, oil on canvas)

He has four works on display at the gallery – Portrait of Monsignor Ignacio Pineda Tambungui (c. 1890, oil on ivory), Portrait of Severina Ocampo de Arroyo (1874, oil on canvas), Portrait of Quintana Castor de Sadie (1874, oil on canvas) and Recuerdo de Patay (Memento Mori of a Child, 1896).

Recuerdo de Patay (Memento Mori of a Child, 1896) by Simon Flores y De la Rosa

The last mentioned is seemingly out of place as it depicts a child serenely lying in a small bed, in his best clothes, adorned with fresh flowers, and the shadow of a smile on his face. During the 19th Century, commissioning paintings like these was a popular way to remember a recently deceased loved one.

Portrait of a Man from Liliw and Portrait of a Man from Liliw, both by Vicente Villasenor (oil on panel)

A number of these portraits were commissioned by Manila-born “Chinese mestizo” merchants and their families.  Right beside each other is the Portrait of Sy Jao (Ignacio Boncan) and the Portrait of the Mother and Son of Sy Jao, both late 19th century, oil on canvas paintings done by an unknown artist. The oil on canvas Portrait of Ming Mong Lo (Jose Molo) was done by Severino Flavier Pablo.

Portrait of Sy Jao (Ignacio Boncan) (late 19th century, oil on canvas)

Portrait of Mother and Son of Sy Jao (late 19th century, oil on canvas)

Also placed side by side with each other are two full body, ca. 1880, oil on canvas portraits of two noted Augustinian Recollects – Mariano Cuartero (22^nd Archbishop of Manila, 1847 – 1861) and Jose Ayanguren (25^th Bishop of Nueva Segovia, 1875 – 1887), both by unknown artists.

L-R: Portrait of an old Lady with a Scapular (late 19th century, oil on canvas), Portrait of an Old Man in a Black Suit and Portrait of an Old Lady, all by Antonio Purisima.

Aside from the artists, in many cases, the identities of the subjects of the portraits are unknown such as the Portrait of a Mother and Daughter (oil on canvas, late 19th century) by Hilarion Asuncion y Eloriaga; Portrait of a Lady (oil on canvas, late 19th century) attributed to the Asuncion y Molo Brothers; Portrait of Three Ladies (oil on tin sheet, 1894) by an unknown artist; Portraits of Two Students of Ateneo Municipal de Manila From Pasig (oil on canvas, late 19th century) by an unknown artist; Portrait of an Old Lady and Portrait of an Old Lady with a Scapular (late 19th century, oil on canvas), both by Antonio Purisima; Portrait of a Man from Liliw, Portrait of a Woman from Liliw, Portrait of a Woman (1891)) and Portrait of a Matriarch, all oil on panels by Vicente Villasenor.

Portrait of a Woman (1891) and Portrait of a Matriarch, both by Vicente Villasenor (oil on panel)

Seeming out of place in a room full of portraits are two letras y figuras (ca. 1885), both done, with watercolor on Manila paper, by Miguel Anonuevo.  Letras y figuras (Spanish, “letters and figures”), a genre of painting pioneered by José Honorato Lozano during the Spanish colonial period in the Philippines, is an art form distinguished by the depiction of letters of the alphabet using a genre of painting that contoured shapes of human figures, animals, plants, and other objects called Tipos del País popularized by Damián Domingo (1796 – 1834). The letters depicted spell out a phrase or a name, usually that of the patron who commissioned the work, in this case Eusebia Solybar and Miguel Anonuevo himself.

Letras y figuras by Miguel Anonuevo

Gallery IV – Paintings of the Philippine Colonial Tradition of Portraiture: Fundacion Santiago Hall, South Wing Galleries, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery III- Paintings of the Philippine Colonial Tradition of the Sacred Arts

Gallery III – Paintings of the Philippine Colonial Tradition of the Sacred Arts, at the third floor of the National Museum of Fine Arts, exhibits the paintings that show images of saints, the Blessed Virgin and the Holy Family. It features polychromes and paintings of early religious images interpreted by local Filipino artists and artisans.

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One of the prominent pieces in the collection is La Apoteosis de Sto. Tomas Aquino (1819, oil on panel), an artwork dedicated to the Dominican College of Seville and one of the few works of Damian Domingo (1796 – 1834), the Father of Filipino Painting, that survive today.

La Apoteosis de Sto. Tomas Aquino (Damian Domingo, 1819, oil on panel)

Another notable painting is the Nuestra Senora del Rosario (ca. 1860, oil on linen) of Antonio Malantic y Arceo (1820 – 1885), one of the famous portrait painters in the Philippines.

Nuestra Senora del Rosario (Antonio Malantic y Arceo, 1860, oil on linen)

Simon Flores y de la Rosa (1839 – 1902), the first Filipino to garner a prize from an international exhibition (silver medal in 1876 at the Philadelphia Universal Exposition for his painting La Musica del Pueblo), has two works at the gallery –  El Bautismo de Jesus por San Juan Bautista (late 19th century, oil on canvas) and San Roque (1893, oil on panel).

El Bautismo de Jesus por San Juan Bautista (Simon Flores y de la Rosa, late 19th century, oil on canvas

San Roque (Simon Flores y De la Rosa, 1893, oil on panel)

Faustino Quiotan (1770 – 1825), a Chinese mestizo master from Sta. Cruz District in Manila and one of the first Filipino artists to show emotions in his subjects, has two works on display –  San Isidro Labrador (late 18th or early 19th century, oil on canvas) and San Albino de Angers (late 18th or early 19th century, oil on canvas).

Top left: San Isidro Labrador (Faustino Quiotan, late 18th or early 19th century, oil on canvas). Bottom left: San Albino de Angers (Faustino Quiotan, late 18th or early 19th century, oil on canvas). Right: San Cristobal (Mariano Asuncion y Molo, mid tolate 19th century, oil on canvas)

Left San Bonifacio, Obispo y Martir (Juan Arceo, 1830, oil on panel). Top CenterSta. Leogarda de Jesus (Nicolas Luis). Bottom Center San Pedro Apostol (Jose Domingo Gabor, late 19th century, oil on panel).

The other known artists whose works are featured include Jose Domingo y Gabor (son of Damian Domingo, ca. 1790 – 1832), Nicolas Luis, Francisco Domingo y Casa, Hilarion Asuncion y Eloriaga (ca. 1840 – ?), Isidro Arceo (1840 – 1900), Juan Arceo (1795 – 1865), Justiniano Asuncion y Molo (1816 – 1896, a prized pupil of Damian Domingo in Academia de Dibujo y Pintura), Mariano Asuncion y Molo (1802 – 1885, brother of Justiniano), Vicente Villasenor (1825 – ?), Juan Senson (an Angono artist), Castor Resurrecion and Adorable Castro Andrade.

El Transito del Glorioso Patriarca San Jose (Francisco Domingo y Casa, oil on canvas)

Nuestra Senora de Guadalupe (Castor Resurrecion, oil on canvas)

Half of works on display are by unknown artists.  The collection belongs to the Bangko Sentral ng Pilipinas Collection.

La Coronacion de la Virgen (unknown Leyteno artist, mid 19th century, oil on panel)

La Paloma (La Coronacion de la Virgen) (Vicente Villasenor, oil on panel)

Gallery III – Paintings of the Philippine Colonial Tradition of the Sacred Arts: Ramon and Milagros Del Rosario Family Hall, South Wing Galleries, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Visitors shall be limited to 100 per museum per session. Visitors are required to pre-book online at https://reservation.nationalmuseum.gov at least a day before the visit. Confirmation of booking will be sent through email. Group reservations are limited to five (5) persons only.  Walk-in visitors will NOT be accommodated.

Gallery II – Gallery of the Via Crusis of an Unknown Bohol Master

Gallery II – Gallery of the Via Crusis of an Unknown Bohol Master, at the second floor of the National Museum of Fine Arts, features 14 paintings depicting the Stations of the Cross (Via Crusis).

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These masterpieces were done by an unknown master from Bohol and the particular church where these paintings originated is also unknown.

Station I (Jesus is Condemned to Death)

Station II (Jesus Carries His Cross).  Check out the Chocolate Hills” in the background

Inscribed with the year 1830, they are among the oldest surviving complete (most were sold individually) series of depictions of the Stations of the Cross in the Philippines.

Station III (Jesus Falls the First Time)

Station IV (Jesus Meets his Mother)

Done on wood panels, they depict the Passion of Christ in great detail in the folk and native style primarily due to the simplistic rendering and flatness of the plane.

Station VI (Veronica Wipes the Face of Jesus)

Station VII (Jesus Falls the Second Time)

Interesting characteristics include the depiction of the distinctive Boholano landscape of conical hills (known in the mid-20^th century as the “Chocolate Hills”).

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Station VIII (Jesus Meets the Women of Jerusalem)

Station IX (Jesus Falls the Third Time)

This landscape can be seen in Station II (Jesus Carries His Cross), Station III (Jesus Falls For the First Time), Station IX (Jesus Falls the Third Time), Station X (Jesus is Stripped of his Garments), Station XI (Jesus is Nailed to the Cross) and Station XIV (Jesus is Laid in the Tomb).

Station X (Jesus is Stripped of his Garments)

Station XI (Jesus is Nailed to the Cross)

There are also references to the Medieval practices of portraying damned souls by means of grotesque features such as elongated noses (redolent of the snouts of swine) of those Roman soldiers and other persons who, without  mercy or remorse, contribute to the suffering of Jesus.

Station XII (Jesus Dies on the Cross)

Station XIII (Jesus is Taken Down from the Cross)

These paintings are entirely unique and outstanding in its cultural significance particularly as they are the only such works held in a public collection and kept in perpetual trust for the Filipino people. 

Station XIV (Jesus is Laid in the Tomb)

Gallery II – Via Crusis of an Unknown Bohol Master: Friends for Cultural Concerns of the Philippines, Inc. (FCCP) Hall, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.

Gallery I – Religious Art from the 17th to 19th Centuries.  In the foreground are nearly life-size wooden statue of an Augustinian monk and St. Dominic.  At the back is the huge, 18th century, Neo-Classical retablo mayor (altar piece) of the Church of St. Nicholas of Tolentino in Dimiao, Bohol, now a National Cultural Treasure

Gallery I: Religious Art from the 17th to 19th Centuries, at the second floor of the National Museum of Fine Arts, features Christian themed art from the 17th-19th centuries that show the faith and devotion of Filipinos to Christianity.

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Displayed at the sides of the gallery are a free-standing crucifix, a door of a tabernacle and a Pieta hanging from a wall; carved, free-standing wooden statues of saints or santos (St. John the Evangelist, St. Mary Magdalene, St. Dominic, St. Anne, St. Isidore the Laborer, St. Rita of Cascia,  St. Catherine of Alexandria, St. Roche, St. James Matamoros, etc.), the Christ Child (Santo Nino), angels and the Virgin Mary (La Immaculada Concepcion); and wooden Corinthian pillars, all made by unknown artists.

Hanging on the wall is a door of a tabernacle, a Pieta and an angel. In front is a free-standing crucifix flanked by angels

At the middle of the gallery are two, nearly life-size wooden statues of St. Dominic (San Domingo de Guzman), founder of the Dominican Order, and an Augustinian monk.

Wooden statues of San Isidro Labrador, San Roque and San Domingo de Guzman

A notable exhibit here, near one end of the hall, is the huge 18^th century, Neo-Classical retablo mayor (altar piece) of the St. Nicholas of Tolentino Church in Dimiao in Bohol which was declared as a National Cultural Treasure by the National Museum of the Philippines on July 18, 2011.

Wooden statues of Santo Ninos (Christ Child)

Gallery I – Religious Art from the 17th to 19th Centuries: Luis I. Ablaza Hall, 2/F, National Museum of Fine Arts (NMFA), Padre Burgos Avenue, Ermita, Manila 1000, Metro Manila. Tel: (632) 8527-1215 and (632) 8298-1100.  Email: inquiry@nationalmuseum.gov.ph.  Website: nationalmuseum.gov.ph.  Open Tuesdays to Sundays, 9 AM – 4PM. Admission is free.  Coordinates: 14°35′13″N 120°58′52″E.