The Works of Juan Luna and Fernando Armorsolo

Question 1

Juan Luna y Novicio was born in _, _ on _ was the _ of seven children.

Answer 1

Badoc, Ilocos Norte, October 23, 1957, third

Question 2

_ was the painter of Spoliarium and the Parisian Life.

Answer 2

Juan Luna y Novicio

Question 3

_ was the first tutor of Juan Luna.

Answer 3

Don Lorenzo Guerero

Question 4

Juan Luna y Novicio on _ due to a heart attack.

Answer 4

December 7, 1899

Question 5

In Juan Luna’s painting, _ is the most valuable oil-on-canvas painting of the artist and took eight months to make, which had the measurement of _ by _.

Answer 5

Spoliarium, 4.22 meters by 7.675 meters

Question 6

Spoliarium was made by Luna in _ as an entry to the prestigious _ (_) and eventually won for him the First Gold Medal.

Answer 6

1884, Exposicion de Bellas, Madrid Art Exposition, May 1884

Question 7

_ is a Latin word referring to the basement of the Roman Colesseum where the fallen and dying gladiators are dumped and devoid of the worldly possessions.

Answer 7

Spoliarium

Question 8

In Spoliarium:
At the center of the painting, _ being dragged by _.
On the left, _ ardently await their chance to strip off the combatants of their metal helmets and other armory.
On the right side, an _ carries a torch perhaps searching for his son while a _ weeps the death of her loved one.

Answer 8

In Spoliarium:
At the center of the painting, fallen gladiators being dragged by Roman soldiers.
On the left, spectators ardently await their chance to strip off the combatants of their metal helmets and other armory.
On the right side, an old man carries a torch perhaps searching for his son while a woman weeps the death of her loved one.

Question 9

The Analysis of Spoliarium:
According to art experts, the fallen gladiators who are being dragged are the _, while the men dragging them into the darkness are representative of the _.
The woman crouched on the right side of the painting is believed to be the _ who weeps for her Philippines.
The blood thirsty crowd to the left is a representation of the _ of that time.

Answer 9

The Analysis of Spoliarium:
According to art experts, the fallen gladiators who are being dragged are the Filipino people, while the men dragging them into the darkness are representative of the Spanish rule.
The woman crouched on the right side of the painting is believed to be the Mother Country or the Inang Bayan who weeps for her Philippines.
The blood thirsty crowd to the left is a representation of the social cancer of that time

Question 10

The Analysis of Spoliarium:
The painting also portrays death in many ways:
* the _ (death of the gladiators),
* _ (the death of these slaves are sensationalized and made glamorous, instead of being seen as tragic to Romans),
* _ (the indifference of the spectators),
* _ (the grief of both the dying slaves and their relations),
* and even _ (the gap between the rich Roman nobles who watch and the slaves who are made to fight)

Answer 10

physical, cultural, social, spiritual, economic

Question 11

In Juan Luna’s painting, The Parisian Life is also known as _ or _, even titled in some books as _ and _ or literally someone who is one step lower than prostitute.

Answer 11

Interior d’Un Café, Inside a
Café, The Maid, Un Coquette

Question 12

The Parisian Life was painted by Juan Luna in _ while at _.

Answer 12

1892 at Paris, France

Question 13

The Parisian Life won _ in _ at _ in the Unites States.

Answer 13

Silver Medal 1904, World Fair’s Saint Louis Exposition

Question 14

The Parisian Life had the dimensions of_ by _.

Answer 14

23 by 31 inches

Question 15

All the details in the painting subtly point to the woman.
The two out of three me looking at her, the tabletop, and
chairs, the corners of the coat and hat, and even the edges
of the newspaper direct one’s attention to the woman.

Answer 15

Wow.

Question 16

In the Analysis of Parisian Life:
The most famous theory regarding this is that the woman is a representation of _, and its relationship with _, at the time.
One of the most famous proof is that the woman’s stance and posture while seating resembles that of the _. When the image is reversed, the arm looks like _, the shape of the face looks like _, and so forth.

Answer 16

In the Analysis of Parisian Life:
The most famous theory regarding this is that the woman is a representation of our country, the Philipipines, and its relationship with Spain, its invader, at the time.
One of the most famous proof is that the woman’s stance and posture while seating resembles that of the Philippine map. When the image is reversed, the arm looks like Palawan, the shape of the face looks like Luzon, and so forth.

Question 17

In the Analysis of the Parisian Life:
It was observed that the knees of the woman fall exactly at _, where Christianity started in the country (we kneel while praying). The navel of the woman lies on _, where the Independence was declared.

Answer 17

In the Analysis of the Parisian Life:
It was observed that the knees of the woman fall exactly at Cebu, where Christianity started in the country (we kneel while praying). The navel of the woman lies on Kawit, Cavite, where the Independence was declared.

Question 18

In the Analysis of the Parisian Life:
All in all, the painting was supposedly a call to the woman () to reconsider its relationship with the companion (). Instead of looking at _ like a friend or a lover, the country should consider the abusive or malicious intent of its invaders, as depicted by the _.

Answer 18

Philippines, Spain, Spain, glasses of beer in the table

Question 19

In the Analysis of the Parisian Life:
The as has an awkward posture. It is like she is unsure of whether she should sit or stand and her face is a bit vacant and confused. They can a reference to the country’s _.

Answer 19

unsureness of fighting back against Spain

Question 20

In the Analysis of the Parisian Life:
There is a dark area near the neck of the woman, as well as a window pane directly above the woman’s head, making her look like she is being hanged. It could also refer to the country’s situation at time of _.

Answer 20

being strangled

Question 21

In the Analysis of the Parisian Life:
The three men at the back have all played pivotal roles in Philippine history. Instead of depicting them as men who are only checking out the girl, they can also be seen as _.

Answer 21

discussing the fate of their country

Question 22

In the Analysis of the Parisian Life:
The newspaper’s headline, translated to “_,” is a reference to the _. It seems that the headline is calling out this event to be an inspiration of Philippines’ own revolution.

Answer 22

Cry to Bastille, French Revolution

Question 23

In the Analysis of the Parisian Life:
The painting could also refer to Luna’s persona life-he was very suspicious that his wife, Paz Pardo de Tavera, was having _. The top hat and coat, and the fact that the woman and this person were together, could be referencing to that as well.

Answer 23

an affair with a French doctor

Question 25

Fernando C. Amorsolo was born in _ to _, a bookkeeper, and his wife _. He is one of _ brothers.

Answer 25

Paco, Manila, Pedyo Amorsolo, Bonifacia Cueto

Question 26

In 1916, _ sponsored Amorsolo to study at the _ in _.

Answer 26

Enrique Zobel de Ayala, Academia de San Fernando, Madrid

Question 27

The family of Amorsolo moved in with his mother’s first cousin, _, a genre painter. In _, Fernando Amorsolo, aged _, was apprenticed to de la Rosa.

Answer 27

Fabian de la Rosa, 1905, 13

Question 28

Amorsolo is considered the “_” of Philippine Art

Answer 28

Grand Old Man

Question 29

_ is the first National Artist in Visual Arts.

Answer 29

Fernando C. Amorsolo

Question 30

_ _ was an oil on canvas and portrays a provincial Filipina beauty or dalagang bukid during a rice harvest.

Answer 30

Palay Maiden, 1920

Question 31

Palay Maiden (1920) is also known as “_.”

Answer 31

Smiling Plain Maiden

Question 32

The Analysis of the Palay Maiden (1920):
he painting is one of Amorsolo’s vision of the idyllic and beautiful Filipina. Instead of copying the Western styles he learned in Europe, he prefers the idyllic imagery presented by his own country.

Answer 32

Got it.

Question 33

In the Analysis of the Palay Maiden (1920):
It is also important to note that somehow, Amorsolo was able to use all the colors in the _ in his work.

Answer 33

Philippine Flag

Question 34

In the Analysis of the Palay Maiden (1920):
Through “,” Amorsolo summarizes his style: the simple, idealized life in the Philippines, coupled with the visuals of the classical Filipina woman, and his luminous rise of lighting, which was described as his mastery of “”.

Answer 34

The Philippine Sun

Question 35

The painting Palay Maiden was painted in _.

Answer 35

1920

Question 36

The painting ‘Antipolo Fiesta (1947)’ was oil on canvas which had the dimensions of _ x _.

Answer 36

51 x 76 inches

Question 37

The painting ‘Antipolo Fiesta’ (1947) depicts a rural scene where a group of people are shown _. The main focus is on a pair of _ in the field surrounded by revelers both young and old.

Answer 37

celebrating a fiesta; dancers

Question 38

In the Analysis of Antipolo Fiesta (1947):
The dancers in the painting, at a first glance, seem to be performing _, and could be part of Amorsolo’s collection of tinkling-related art. However, this is not the case because there are no bamboo holders in the scene. This little quirk makes the panting more interesting.

Answer 38

tinikling

Question 39

In the Analysis of Antipolo Fiesta (1947):
Another thing to note is that this painting was made in _, after . Amorsolo during the period of rhis war, left his pastoral and illustrious style to depict darker scenes of grief and sadness. The light of his paintings were not longer the sun, but the fires and bombs of war.
However, Antipolo, Fiesta, which was made after the war ended (), is reminiscent of Amorsolo’s pre-war style, a callback to the bright sunlight and rural setting.

Answer 39

1947, World War II, 1945

Question 40

In the Analysis of Antipolo Fiesta (1947):
The celebration in the painting can not be restrained to _, but also to a country rising from the ashes of war. Like how Amorsolo returned to his original style in this painting, the Philippines is also recovering from _. It can also be a reference to him missing the rural and provincial setting of his youth.

Answer 40

Antipolo, the wounds left to us by was and invaders