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Refiguring Modern Philippine Art
By Leovino Ma. Garcia Ph.D.
The art of becoming human
Art, like philosophy and poetry, is never a luxury. It is essential to the enterprise of becoming human.
This exhibit entitled "Refiguring Modern Philippine Art" takes to heart this concern.
It pays homage to the late Fernando Zóbel de Ayala (1924-1984)—painter, art scholar and humanities lecturer at the
Ateneo—whose initial generosity in 1959 brought into existence what is considered today as "the only museum in the
country dedicated to the collection, display and interpretation of modern Philippine art." Ever the humanist, Zóbel
envisioned his donation of over 200 artworks to serve as the nucleus of a study collection for university students,
particularly in their humanities courses. In line with this vision, this exhibit primarily addresses itself to students,
especially those who may still be baffled and even intimidated by modern abstract art. Adhering to a certain simplicity
of style and presentation in order to reach as wide an audience as possible, this exhibit hopes to draw students and
gallery visitors to a fascinating and enjoyable encounter with modern Philippine art.
Except for a couple of paintings, all the works chosen for this show were gifts of Fernando Zóbel.
"Back to the things themselves"
As a first step in the appreciation of modern Philippine art, let us begin by taking a cue from philosophy, In phenomenological
philosophy which is about discerning the meaning of lived experience, we are urged to go "back to the things themselves"—to
"bracket," to set aside our preconceived ideas before we immerse ourselves in a new experience. One preconceived idea which
prevents us from appreciating modern art is the unquestioned belief that the function of art is to represent, to copy, to
mirror real things in the world. Modern abstract art challenges this idée fixe. Ideas regarding the kinds of function of art and
the nature of the work of art have changed and are continually changing.
Dramatic changes, for instance, manifest themselves as we move from Fernando Amorsolo's pastoral scenes of sweetness and light
to Vicente Manansala's urban "limit-situation" of finitude, frustration, and pollution (Jeepneys, 1951). What factors accounted for
the changes? First of all, there emerged a world recently ravaged by World War II, evoked by relics like Manansala's sweet-sour looking
jeepneys. Second, there rapidly grew cities like Manila due to the rise in industrialization and technology.
With the migration of job seekers from the provinces, squatter areas began to mushroom. Romeo Tabuena rhythmically renders the
squalor in these places in pastel shades (Laundry, 1951). For his part, Arturo Rogerio Luz hints at the sidewalk vendor's loneliness
and fatigue, felt in her shortened legs (Vendador de Flores, 1952). But even in the asphalt jungle, one can still look forward to a
time of merrymaking with the barkada with the coming of the New Year (Luz, Bagong Taon, 1952). And one can still cry out in song under
a moonlit sky (Luz, Awit, 1953).
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Lopez Memorial Museum » Artscene: Zero-In: Private Art, Public Lives: Refiguring Modern Philippine Art
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