EUGENIO LÓPEZ, SR.: PIONEERING ENTREPRENEUR AND BUSINESS LEADER
by Jose Abueva
Eugenio López y Hofileña was a leading industrialist and business statesman. Recognized for his vision, courage, and pioneering spirit, his efforts were relentless to acquire firmer foothold in the major economic activities of the nation. He espoused the cause of Philippine nationalism through the various forms of mass media that he controlled. He crusaded for clean and honest government and supported various unpublicized philanthropies that advanced worthy undertakings. He insured the preservation for posterity through the Lopez Memorial Museum important works by Juan Luna and Felix Resurreccion Hidalgo, among other artists, the letters and works of Dr. José Rizal, and rare and general reference books, maps, manuscripts, and journals on the Philippines, its history, people, and culture.
FELIX RESURRECCION HIDALGO & THE GENERATION OF 1872
by Alfredo R. Roces
On Occasion, an artist becomes a character on stage caught up in the rush of events during which a chapter in the history of a nation is played out. Felix Resurreccion Hidalgo was one such artist. Born in Binondo, Manila in 1853, young Felix was a victim of events that culminated in the purge against Reformists in 1872, and as well an active participant in the Nationalist ferment generated by young Ilustrados who gained their tertiary education in Europe in the 1880s. Among his close friends were national martyr José Rizal and the fiery painter Juan Luna. Contrary to current attitudes of contemporary historians who popularized the theory that the Ilustrado “betrayed” the nation to preserve their material status and that the masses were the only true patriots, painter-writer Alfredo Roces presents historical evidence to the contrary. He pieces together narratives of the Ilustrado, shaped by the trauma of 1872, as patriot and nationalist.
A THOUSAND YEARS OF STONEWARE JARS IN THE PHILIPPINES
by Cynthia O. Valdes (Co-published with the Jars Collectors)
Called storage jars—martaban by the connoisseur—they are commonly known as gusi or tapayan by highlanders in the Philippines who continue to use them in ritual. Originally fashioned as containers of water, wine, pickled food stuff, and other provisions, these were used by the ship crews during long voyages from China to various ports. A keen interest in trade jars developed in Southeast Asia, which transformed them into sought-after items. The book begins in the ninth century, when storage jars first came to these shores accompanied by other high-fired wares of the late Tang Dynasty (A.D. 618-907). Three essays include comparative analyses of jar types found in the Philippines and Southeast Asia; an examination of historical accounts related to jars, trade routes, and the diverse merchants who came to the archipelago; and an ethnographic view of the role of jars in Philippine rituals.
While Classical wisdom regarded drawing as the probity of art, few artists today use drawing as the foundation of their art. The latter paint directly on the canvas and eschew preliminary studies and drawings, giving primacy to spontaneity. They do this to render visible their thought processes and their search for form in painting. The modern view is to see painting as the document of a voyage into the self. FERNANDO C. AMORSOLO, the most loved of Filipino painters and the first to receive the National Artist Award, believed, as did the painter of Classics, that drawing was the foundation of art. Amorsolo sketched incessantly: hands in gesture and feet in various positions were given as much attention as faces and bodies. He drew studies of farmers doing their cyclical chores, planting and harvesting rice, city folk in their daily routines, cooking, dining, or simply surviving.
LEE AGUINALDO: REMBRANDT’S LIGHT SERIES
By Rod. Paras-Perez
This is in folio format
by Lourdes R. Montinola
(Co-published with the Amon Foundation)
Piña, the fabric woven from fine fibers stripped from the leaves of the pineapple plant, has been produced in the Philippines since the sixteenth century. Its exquisite delicacy has drawn the admiration of many. It is valued as heirloom and handed down through generations and preserved in museums. This book explores the sources, origins, and making of piña, its history, uses and artistry as fabric and as craft, and the high regard in which it has been held. The book gathers through history the threads that gave being to piña: the tradition of weaving in the Philippines, the admiration for embroidery in Spain, the climate that made translucence in fabric a virtue, and the aesthetics that made fine handwork a treasure. The book views these against the backdrop of machines, speed, and mass production, as well as the renewed respect for the natural and the handmade. The book is the first of its kind, drawing from history, ethnography, sociology, and aesthetics the study and appreciation of a cultural artifact that is as well an object of art.
For a painter, perhaps the most striking thing about the Philippines is the quality of light. Normally we have to deal with a white colorless glare that bounces off every surface and refuses to cast a shadow. Somewhere else I have written that it is like looking at a naked light bulb. The implications of this kind of light to painters are legion, because although a painter may not paint what he sees, his surroundings condition what he paints. An example: Hernando Ocampo’s juxtaposition of contrasting colors in their maximum intensities. His pictures do not glow, they glare. It is precisely this quality that gives them, in my eyes, their peculiar Philippine flavor. A favorite question here: “Is there a Philippine style?” My answer is that I suppose so; It is probably being created right now. However, the chances are that a whole generation will have to pass before this quality can be clearly recognized. Right now we are conscious of the differences between one artist and the next. Someday the similarities will become apparent. We recognize the obviously “Spanish” in artists as different as Zurbaran and Goya. That took a good deal of time, though. — Fernando Zóbel de Ayala
by Rod. Paras-Perez
Since forty-three years ago I have been drawing and up to now I still am. Why? Because I know that drawing is the most important weapon a painter must possess. Without it he is at a loss. And any painter can only achieve such a treasure by practicing one or two hours or more every day.
When a painter begins to imagine a certain symbol or thought to be expressed in visible and tangible material form, he starts to draw in order to materialize his thoughts. Now how can a painter…accomplish these if his hands cannot follow what his mind or feeling dictates?… The painter’s hand then must follow him. His hands must serve as his slaves. Then you have something there. Now that is only the beginning. And I repeat, only the beginning. An Introduction to fine painting. And the rest—only heaven knows.
Don’t think this is the only thing a painter needs. There are more things for him to learn and study and just as important as learning how to draw is working hard. Very hard.— Vicente Manansala
The art of Juvenal Sanso belongs to a fantastic world. The flower compositions and landscapes reveal a mysterious universe full of magic. It is this wonderment that gives his paintings their beauty and renders them both unique and unforgettable.
— J.P. Crespelle
Starting from realistic designs of beautifully firm strokes, he creates visions of nature yet unseen, where the accumulation of certain elements like spongy rocks, mounds of stones, bamboo scaffoldings, form dream landscapes of singular greatness.
— R. Charmet
by Helen L. Valmayor
The Eugenio Lopez Foundation’s deep involvement in orchids has inspired its president, Oscar M. Lopez, to conceive of the first comprehensive, profusely illustrated, colorful book exclusively on Philippine orchids. This two-volume endeavor, however, is not the sole work on Philippine orchids published by the Foundation, whose Board of Trustees include Oscar M. Lopez, Manuel M. Lopez, Doña Pacita M. Lopez, Pacifico Villaluz, Camilo D. Quiason, Margarita Fragante, and Bienvenido E. Calleja. The last served as editor of the book.
PHILIPPINE RARIORA: A Descriptive Catalog of 17th Century Imprints in the Lopez Memorial Museum
by Mauro Garcia
A review of rare books that was collected principally under the category of material culture. While one reads an ordinary book to gain information, one appreciates a rare book because of its history and intrinsic value. A rare book, may be the first edition, the only book published on a subject, or the only extant copy. This catalog adopts the quasi-facsimile transcription for each title to distinguish a book’s features. The physical structure of each book is indicated by its collation or technical description: gatherings, the number of leaves in every gathering, and its pagination statement. The format and size in centimeters are also given. The detailed analysis of contents of each book accounts for every page included in the collation by gatherings. Title pages have been included to serve as frames of reference in the transcription of the title pages. Pertinent notes have also been added to the notes.
THE COMPLETE WRITINGS OF DR. EDUARDO A. QUISUMBING ON PHILIPPINE ORCHIDS
The Philippine Orchid Society unqualifiedly views Eduardo Quisumbing’s book as the most complete and authoritative on Philippine orchids. Numerous individuals brought this venture to a successful launch: the editors, technicians, and orchid lovers who provided the author with data, suggestions, and plant specimens. Special mention was made of the Eugenio Lopez Foundation, Inc. which conceived the idea and published the book.
JUAN LUNA: THE FILIPINO AS PAINTER
by Santiago Albano Pilar
First full-length biography on Juan Luna. In graphic detail, Santiago Pilar reveals Luna’s brief and turbulent life. He vividly traces the artist’s arduous journey to recognition from early encounters with prejudice, the development of Luna’s grand style of painting, to the genesis of his greatest works and his apotheosis as maestro recognized in the art capitals of the world. Controversial is the author’s commentary on Luna’s style that some critics have described as Impressionism. Pilar contends that Luna, far from being attracted by the new style, faulted it as sloppy; and that when he employed loose brushwork, he was actually working on preliminary studies. What profoundly influenced Luna’s mature period was Social Realism. Despite incursions into what would today be described as Proletarian Art, Pilar states that Luna’s basic style remained Classical, because it was the dignity evoked by images of antiquity that Luna desired for the Filipino and his imagined republic.
PHILIPPINE INSURRECTION AGAINST THE UNITED STATES
by John R. M. Taylor
A compilation of documents in five volumes with notes and introduction by Capt. John R. M. Taylor. It was the first major project of the Eugenio Lopez Foundation, Inc. undertaken in accordance with its commitment to the National Science Development Board. A panel of historians headed by Renato Constantino recommended the publication of Taylor’s work. Limited copies were printed and some 300 copies distributed free to scholars and institutions.
A Guide to Luna and Hidalgo Paintings
Lopez Memorial Museum Visitor’s Guide