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CPAR > CPAR - Visual Arts > Flashcards

CPAR - Visual Arts Flashcards

1
Q

NATIONAL ARTIST OF THE PHILIPPINES IN VISUAL ARTS

A
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1
Q

Single and handedly revived the forgotten art of mural painting.

A

Carlos “Botong” Francisco- Painting (1973)

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2
Q

Turned fragments of the historic past into vivid records of the legendary courage of the ancestors of his race.

A

Carlos “Botong” Francisco- Painting (1973)

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3
Q

Linked with modernist artist, Victorio C. Dales and Galo Ocampo, author of “The Triumvirate”.

A

Carlos “Botong” Francisco- Painting (1973)

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4
Q

Portrait of Purita

A

Carlos “Botong” Francisco- Painting (1973)

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5
Q

The Invasion of Limahong

A

Carlos “Botong” Francisco- Painting (1973)

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6
Q

Serenade

A

Carlos “Botong” Francisco- Painting (1973)

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7
Q

Muslim Betrothal

A

Carlos “Botong” Francisco- Painting (1973)

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8
Q

Blood Compact

A

Carlos “Botong” Francisco- Painting (1973)

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9
Q

First Mass at Limasawa

A

Carlos “Botong” Francisco- Painting (1973)

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10
Q

The Martyrdom of Rizal

A

Carlos “Botong” Francisco- Painting (1973)

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11
Q

Bayanihan

A

Carlos “Botong” Francisco- Painting (1973)

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12
Q

Magpupukot

A

Carlos “Botong” Francisco- Painting (1973)

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13
Q

Fiesta

A

Carlos “Botong” Francisco- Painting (1973)

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14
Q

Bayanihan sa Bukid

A

Carlos “Botong” Francisco- Painting (1973)

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15
Q

Sandugo

A

Carlos “Botong” Francisco- Painting (1973)

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16
Q

Develop backlighting technique where figures, cluster of leaves, spill of hair, the swell of breast are seen aglow in canvas.

A

Fernando C. Amorsolo- Painting (1972)

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17
Q

Defined and perpetuated a distinct element of nation’s artistic and cultural heritage.

A

Fernando C. Amorsolo- Painting (1972)

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18
Q

Maiden in a Stream (1921)- GSIS Collection

A

Fernando C. Amorsolo- Painting (1972)

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19
Q

El Ciego (1928)- Central Bank of the Philippines Collection

A

Fernando C. Amorsolo- Painting (1972)

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20
Q

Dalagang Bukid (1936)- Club Filipino Collection

A

Fernando C. Amorsolo- Painting (1972)

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21
Q

The Mestiza (1943)

A

Fernando C. Amorsolo- Painting (1972)

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22
Q

Planting Rice (1956)

A

Fernando C. Amorsolo- Painting (1972)

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23
Q

Sunday Morning Going to Town (1958)

A

Fernando C. Amorsolo- Painting (1972)

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24
Q

Revival period of the Philippine Sculpture Art.
-UP Obliation, his obra became the symbol of freedom and offering of one’s dignity, patriotism, and service.
-Bonifacio Monument in Caloocan (Filipino’s cry freedom)Bonifacio Monument in Caloocan (Filipino’s cry freedom)

MAJOR ARTWORKS
*President Quezon at Quezon Memoria
*Jose Rizal at UP and UE
*Statue of Ramon Magsaysay
*Granolithic and heroic statues representing education, medicine, forestry, veterinary science, fine arts, and music at UP
*Nifacio Monument in Caloocan- stands as bronze medal for Ramon Magsaysay Award
*Seal of Republic of the Philippines

A

Guillermo E. Tolentino- Sculpture (1973)

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25
Q

UP Oblation, his obra became the symbol of freedom and offering of one’s dignity, patriotism, and service.

A

Guillermo E. Tolentino- Sculpture (1973)

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26
Q

Bonifacio Monument in Caloocan (Filipino’s cry freedom)Bonifacio Monument in Caloocan (Filipino’s cry freedom)Bonifacio Monument in Caloocan (Filipino’s cry freedom)Bonifacio Monument in Caloocan (Filipino’s cry freedom)Bonifacio Monument in Caloocan (Filipino’s cry freedom)

A

Guillermo E. Tolentino- Sculpture (1973)

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27
Q

President Quezon at Quezon Memoria

A

Guillermo E. Tolentino- Sculpture (1973)

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28
Q

Jose Rizal at UP and UE

A

Guillermo E. Tolentino- Sculpture (1973)

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29
Q

Statue of Ramon Magsaysay

A

Guillermo E. Tolentino- Sculpture (1973)

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30
Q

Granolithic and heroic statues representing education, medicine, forestry, veterinary science, fine arts, and music at UP

A

Guillermo E. Tolentino- Sculpture (1973)

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31
Q

Boniifacio Monument in Caloocan- stands as bronze medal for Ramon Magsaysay Award

A

Guillermo E. Tolentino- Sculpture (1973)

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32
Q

Seal of Republic of the Philippines

A

Guillermo E. Tolentino- Sculpture (1973)

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33
Q

Father of Philippine Modern Sculpture.

A

Napoleon V. Abueva- Sculpture (1976)

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34
Q

Youngest Natioal Artist Awardee

A

Napoleon V. Abueva- Sculpture (1976)

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35
Q

Buoyant Sculpture (1951)

“buoyant sculpture” — sculpture meant to be appreciated from the surface of a placid pool.

A

Napoleon V. Abueva- Sculpture (1976)

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36
Q

The Sculptures at the United Nations headquarters in New York City.

A

Napoleon V. Abueva- Sculpture (1976)

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37
Q

he has utilized almost all kinds of materials from hardwood (molave, acacia, langka wood, ipil, kamagong, palm wood and bamboo) to adobe, metal, stainless steel, cement, marble, bronze, iron, alabaster, coral and brass.

A

Napoleon V. Abueva- Sculpture (1976)

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38
Q

Visions of reality teetering on the edge of abstraction

A

Vincente S. Manansala

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39
Q

Preference for Cezenne and Picasso that achieved a balance of skills and artistry.

A

Vincente S. Manansala

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40
Q

Beauty of art is in the process

A

Vincente S. Manansala

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41
Q

His talent revealed through Sagrada Familia and his mother’s portrait

A

Vincente S. Manansala

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42
Q

A Cluster of Nipa Hut

A

Vincente S. Manansala

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43
Q

San Francisco Del Monte

A

Vincente S. Manansala

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44
Q

Banaklaot

A

Vincente S. Manansala

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45
Q

I Believe in God

A

Vincente S. Manansala

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46
Q

Market Venders

A

Vincente S. Manansala

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47
Q

Madonna of the Slums

A

Vincente S. Manansala

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48
Q

Still Life with Green Guitar

A

Vincente S. Manansala

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49
Q

Via Crucis

A

Vincente S. Manansala

50
Q

Whirr

A

Vincente S. Manansala

51
Q

Nude

A

Vincente S. Manansala

52
Q

Singur achievement of refining cubism in the Philippine context

A

Cesar Legaspi- Visual Arts (1990)

53
Q

Daring themes contributed significantly to the advent and eventual acceptance of modern art

A

Cesar Legaspi- Visual Arts (1990)

54
Q

Geometric fragmentation technique

A

Cesar Legaspi- Visual Arts (1990)

55
Q

Weaving social comment

A

Cesar Legaspi- Visual Arts (1990)

56
Q

Juxtaposing the mythical and modern into his overlapping, interacting forms with disturbing power and intensity

A

Cesar Legaspi- Visual Arts (1990)

57
Q

Gadgets I

A

Cesar Legaspi- Visual Arts (1990)

58
Q

Gadgets II

A

Cesar Legaspi- Visual Arts (1990)

59
Q

Diggers

A

Cesar Legaspi- Visual Arts (1990)

60
Q

Idols of the Third Eye

A

Cesar Legaspi- Visual Arts (1990)

61
Q

Façade

A

Cesar Legaspi- Visual Arts (1990)Cesar Legaspi- Visual Arts (1990)

62
Q

Ovary

A

Cesar Legaspi- Visual Arts (1990)

63
Q

Flora and Fauna

A

Cesar Legaspi- Visual Arts (1990)

64
Q

Triptych

A

Cesar Legaspi- Visual Arts (1990)

65
Q

Flight

A

Cesar Legaspi- Visual Arts (1990)

66
Q

Bayanihan

A

Cesar Legaspi- Visual Arts (1990)

67
Q

Struggle

A

Cesar Legaspi- Visual Arts (1990)

68
Q

Avenging Figure

A

Cesar Legaspi- Visual Arts (1990)

69
Q

Turning Point

A

Cesar Legaspi- Visual Arts (1990)

70
Q

Peace

A

Cesar Legaspi- Visual Arts (1990)

71
Q

The Survivor

A

Cesar Legaspi- Visual Arts (1990)

72
Q

The Ritual

A

Cesar Legaspi- Visual Arts (1990)

73
Q

belonged to the so-called “Thirteen Moderns” and later, the “Neo-realists”.

A

Cesar Legaspi- Visual Arts (1990)

74
Q

A pioneer “Neo-Realist”

A

Cesar Legaspi- Visual Arts (1990)

75
Q

Understanding and awareness of harsh social realities in the country (world war II).

A

Hernando R. Ocampo- Visual Arts (1991)

76
Q

Contributed significantly to the rise of the nationalist spirit in the post-war era

A

Hernando R. Ocampo- Visual Arts (1991)

77
Q

Pivotal role in sustaining the Philippine Art Gallery

A

Hernando R. Ocampo- Visual Arts (1991)

78
Q

Genesis- curtain design of the cultural center of the Philippines Main Theater

A

Hernando R. Ocampo- Visual Arts (1991)

79
Q

Balon

A

Hernando R. Ocampo- Visual Arts (1991)

80
Q

Calvary

A

Hernando R. Ocampo- Visual Arts (1991)

81
Q

Slum Dwellers

A

Hernando R. Ocampo- Visual Arts (1991)

82
Q

Nude with Candle and Flower

A

Hernando R. Ocampo- Visual Arts (1991)

83
Q

Man and Carabao

A

Hernando R. Ocampo- Visual Arts (1991)

84
Q

Angel’s Kiss

A

Hernando R. Ocampo- Visual Arts (1991)

85
Q

Palayok at Kalan

A

Hernando R. Ocampo- Visual Arts (1991)

86
Q

Ancestors

A

Hernando R. Ocampo- Visual Arts (1991)

87
Q

Isda at Mangga

A

Hernando R. Ocampo- Visual Arts (1991)

88
Q

The Resurrection

A

Hernando R. Ocampo- Visual Arts (1991)

89
Q

Fifty Three”Q”

A

Hernando R. Ocampo- Visual Arts (1991)

90
Q

Backdrop

A

Hernando R. Ocampo- Visual Arts (1991)

91
Q

Fiesta (2)

A

Hernando R. Ocampo- Visual Arts (1991)

92
Q

Created masterpiece that exemplify an ideal of sublime austerity in expression and form that elevated Filipino aesthetic vision to new heights of sophisticated simplicity.

A

Arturo R. Luz- Visual Arts (1997)

93
Q

Designer, sculptor, and painter for more than 40 years

A

Arturo R. Luz- Visual Arts (1997)

94
Q

Set a prestigious influence over generations of Filipino artists

A

Arturo R. Luz- Visual Arts (1997)

95
Q

Bagong Taon

A

Arturo R. Luz- Visual Arts (1997)

96
Q

Vendador de Flores

A

Arturo R. Luz- Visual Arts (1997)

97
Q

Skipping Rope

A

Arturo R. Luz- Visual Arts (1997)

98
Q

Candle Vendors

A

Arturo R. Luz- Visual Arts (1997)

99
Q

Procession

A

Arturo R. Luz- Visual Arts (1997)

100
Q

Self-portrait

A

Arturo R. Luz- Visual Arts (1997)

101
Q

Night Glows

A

Arturo R. Luz- Visual Arts (1997)

102
Q

Grand Finale

A

Arturo R. Luz- Visual Arts (1997)

103
Q

Imaginary Landscapes

A

Arturo R. Luz- Visual Arts (1997)

104
Q

Black and White- displayed in lobby of CCP’s Bulwagang Carlos V. Francisco (Little Theater)

A

Arturo R. Luz- Visual Arts (1997)

105
Q

Creating an authentic Filipino abstract idiom that transcented foreign influences

A

Jose T. Joya- Visual Arts (2003)

106
Q

Most of paintings are inspired by Philippines landscapes

A

Jose T. Joya- Visual Arts (2003)

107
Q

Asian’s aesthetics forms and concept

A

Jose T. Joya- Visual Arts (2003)

108
Q

Espoused the value of kinetic energy and spontaneity in painting which became significant value in Philippines Arts

A

Jose T. Joya- Visual Arts (2003)

109
Q

Led the way for younger artist in bringing out the potentials of multimedia

A

Jose T. Joya- Visual Arts (2003)

110
Q

Granadean Arabesque- 1958 landmark painting

A

Jose T. Joya- Visual Arts (2003)Jose T. Joya- Visual Arts (2003)

111
Q

Beethoven Listening to the Blues

A

Jose T. Joya- Visual Arts (2003)

112
Q

Space Transfiguration

A

Jose T. Joya- Visual Arts (2003)

113
Q

Hills of Nikko

A

Jose T. Joya- Visual Arts (2003)

114
Q

Abstraction

A

Jose T. Joya- Visual Arts (2003)

115
Q

Dimensions of Fear

A

Jose T. Joya- Visual Arts (2003)

116
Q

Nallad

A

Jose T. Joya- Visual Arts (2003)

117
Q

Torogan

A

Jose T. Joya- Visual Arts (2003)

118
Q

Cityscape

A

Jose T. Joya- Visual Arts (2003)

119
Q

Paintings are melancholic symbol of dislocation, despair and isolation-the personification of human dignity threatened by life vicissitudes and the vast inequalities of Philippines society.

A

Benedicto R. Cabrera- Painting (2006)

120
Q

Upheld the primacy of drawing over the decorative color

A

Benedicto R. Cabrera- Painting (2006)

121
Q

Bencab- exploration of form, finding his way out of the realism and high abstraction of the sixtiest to be able to reconsider the potency of figurative expression had held out vital options for Philippine art in the Martial Law years in the seventies through the contemporary area

A

Benedicto R. Cabrera- Painting (2006)

122
Q

who signs his paintings “Bencab,”

. Bencab started his career in the mid-sixties as a lyrical expressionist.

A

Benedicto R. Cabrera- Painting (2006)

123
Q

Bencab, who was born in Malabon, has christened the emblematic scavenger figure “Sabel.” For Bencab, Sabel is a melancholic symbol of dislocation, despair, and isolation–the personification of human dignity threatened by life’s vicissitudes, and the vast inequities of Philippine society

A

Benedicto R. Cabrera- Painting (2006)

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