Juan Luna y Novicio (October 23, 1857 December 7, 1899) was a Filipino painter, sculptor and a

political activist of the Philippine Revolutionduring the late 19th century. He became one of the first
recognized Philippine artists.
His winning the gold medal in the 1884 Madrid Exposition of Fine Arts, along with the silver win of fellow
Filipino painter Flix Resurreccin Hidalgo, prompted a celebration which was a major highlight in the
memoirs of members of the Propaganda Movement, with the fellow Ilustrados toasting to the two painters'
good health and to the brotherhood between Spain and the Philippines.
Regarded for work done in the manner of the Spanish, Italian and French academies of his time, Luna
painted literary and historical scenes, some with an underscore of political commentary. His allegorical
works were inspired with classical balance, and often showed figures in theatrical poses.
Early life[edit]
Born in the town of Badoc, Ilocos Norte in the northern Philippines, Juan Luna was the third among the
seven children of Don Joaquin Luna de San Pedro y Posadas and Doa Laureana Novicio y Ancheta. In
1861, the Luna family moved to Manila and he went to Ateneo Municipal de Manila where he obtained
his Bachelor of Arts degree. He excelled in painting and drawing, and was influenced by his
brother, Manuel Luna, who, according to Filipino patriot Jos Rizal, was a better painter than Juan
himself.
Luna enrolled at Escuela Nautica de Manila (now Philippine Merchant Marine Academy) and became a
sailor. He took drawing lessons under the illustrious painting teacher Lorenzo Guerrero of Ermita, Manila.
He also enrolled in the Academy of Fine Arts (Academia de Dibujo y Pintura) in Manila where he was
influenced and taught how to draw by the Spanish artist Agustin Saez. Unfortunately, Luna's vigorous
brush strokes displeased his teacher and Luna was discharged from the Academy. However, Guerrero
was impressed by his skill and urged Luna to travel to Spain to further pursue his studies.
Travel abroad[edit]
In 1877 Manuel and Juan Luna traveled to Europe, where Manuel studied music and Juan painting. Juan
entered the Escuela de Bellas Artes de San Fernando, where he befriended the painter Don Alejo Vera.
Luna was discontented with the style of teaching in school and decided that it would be much better to
work with Vera.
Vera brought him to Rome for some of his commissions, and Luna was exposed to the art of
the Renaissance painters. It was in 1878 when his artistic talents was established with the opening of the
first art exposition in Madrid which was called the Exposicin Nacional de Bellas Artes (National
Demonstration of Fine Arts). From then on, Luna became engrossed in painting and produced a
collection of paintings that he exhibited in the 1881 Exposition.
In 1881, his La Muerte de Cleopatra (The Death of Cleopatra)
[1][2]
won him a silver medal and came in
second place. Luna's growing reputation as an artist led to a pensionado (pension) scholarship at 600
pesos annually through the Ayuntamiento of Manila. The condition was that he was obliged to develop a
painting which captured the essence of Philippine history which would then become the Ayuntamiento's
property.
As an artist[edit]


Juan Luna in his Paris studio.
In 1883 Luna started the painting demanded of him by the Ayuntamiento. In May 1884, he shipped the
large canvas of the Spoliarium to Madrid for the year's Exposicin Nacional de Bellas Artes. He was the
first recipient of the three gold medals awarded in the exhibition and Luna gained recognition among
the connoisseurs and art critics present. On June 25, 1884, Filipino and Spanish nobles organized an
event celebrating Luna's win in the exhibition. That evening, Rizal prepared a speech for his friend,
addressing the two significant things of his art work, which included the glorification of genius and the
grandeur of his artistic skills.
Luna developed a friendly relationship with the King of Spain and was later commissioned by the Spanish
Senate to paint a large canvas which was called the La Batalla de Lepanto (The Battle of Lepanto).
[3]
He
moved to Paris in 1885 where he opened his own studio and befriended Hidalgo. A year after, he finished
the piece El Pacto de Sangre (The Blood Compact) in accordance with the agreement he had with the
Ayuntamiento of Manila. Depicted in this piece was the blood compact ceremony between the Datu
Sikatuna, one of the lords in Bohol island, and the Spanish conquistadorMiguel Lpez de Legazpi.
[4]
It is
now displayed in the Malacaan Palace. He also sent two other paintings in addition to the one required;
the second canvas sent to Manila was a portrait of Lpez de Legazpi reconstructed by Luna from his
recollection of a similar portrait he saw in the hall of theCabildo, and the third was of Governor-
general Ramn Blanco y Erenas.
In 1887, Luna once again traveled back to Spain to enter in that year's Exposition two of his pieces,
the La Batalla de Lepanto and Rendicin de Granada (Surrender of Granada), which both won in the
exhibition. He celebrated his triumph with his friends in Madrid with Graciano Lpez-Jaena delivered Luna
a congratulatory speech. Luna's paintings are generally described as being vigorous and dramatic. With
its elements of Romanticism, his style shows the influence of Delacroix, Rembrandt, and Daumier.
Marriage[edit]
On December 8, 1886, Luna married Maria de la Paz Pardo de Tavera, a sister of his friend Felix
and Trinidad Pardo de Tavera. The couple traveled to Venice and Rome and settled in Paris. They had
one son, whom they named Andrs, and a daughter nicknamed Bibi who died in infancy. Luna was fond
of painting his wife. However, the jealous Luna frequently accused Paz of having an affair with a
certain Monsieur Dussaq. Finally in a fit of jealousy, he killed his wife and mother-in-law and wounded his
brother-in-law, Felix, on September 23, 1892. He was arrested and murder charges were filed against
him.
Luna was acquitted of charges on February 8, 1893, on grounds of temporary insanity; the "unwritten law"
at the time forgave men for killing unfaithful wives.
[5]
He was ordered to pay the Pardo de Taveras a sum
of one thousand six hundred fifty one francs and eighty three cents, and an additional twenty five francs
for postage, in addition to the interest of damages. Five days later, Luna went to Madrid with his
brother, Antonio Luna, and his son, Andrs.
Final years[edit]
In 1891 Luna moved back to the Philippines and traveled to Japan in 1896, returning during the Philippine
Revolution of the Cry of Balintawak. Unfortunately, on September 16, 1896, he and his brother Antonio
Luna were arrested by Spanish authorities for being involved with the Katipunan rebel army.
[6]
Despite his
imprisonment, Luna was still able to produce a work of art which he gave to a visiting priest. He was
pardoned by the Spanish courts on May 27, 1897 and was released from prison and he traveled back to
Spain. In 1898, he was appointed by the executive board of the Philippine revolutionary government as a
member of the Paris delegation which was working for the diplomatic recognition of the Repblica Filipina
(Philippine Republic). In 1899, upon the signing of the Treaty of Paris (1898),
[7]
Luna was named a
member of the delegation to Washington, D.C. to press for the recognition of the Philippine government.
He traveled back to the Philippines in December 1899 upon hearing of the murder of his brother Antonio
by the Kawit Battalion in Cabanatuan. On December 7, 1899, Luna suffered a heart attackand died there.
His remains were buried in Hong Kong and in 1920 were exhumed and kept in Andrs Luna's house, to
be later transferred to a niche at the Crypt of the San Agustin Church in the Philippines. Five years later,
Juan would be reinstated as a world renowned artist and Peuple et Rois, his last major work, was
acclaimed the best entry to the Saint Louis World's Fair in the United States.
[8]
Unfortunately some of his
paintings were destroyed by fire in World War II.
Paintings by Juan Luna


Spoliarium
Painting
The Spoliarium is a painting by Filipino artist Juan Luna. The painting was submitted by Luna to the
Exposicin Nacional de Bellas Artes in 1884 in Madrid, where it garnered the first gold medal. Wikipedia
Artist: Juan Luna
Subject: Gladiator
Location: National Museum of the Philippines
Dimensions: 4.0 m x 7.0 m
Created: 1884
Media: Oil paint

The Blood Compact
Painting
The Blood Compact is an award-winning 1886 historic and historical' painting by Filipino painter Juan
Luna. Wikipedia
Artist: Juan Luna
Location: Malacaang Palace
Dimensions: 2.00 m x 3.0 m
Created: 1886
Genre: History painting
Subject: Datu Sikatuna






Fernando Amorsolo
Fernando Cueto Amorsolo (May 30, 1892 April 24, 1972) is one of the most important artists
in the history of painting in the Philippines.
[1]
Amorsolo was a portraitist and painter of rural Philippine
landscapes. He is popularly known for his craftsmanship and mastery in the use of light. Born in Paco,
Manila, he earned a degree from the Liceo de Manila Art School in 1909.
[2][3]

[4]

Contents
[hide]
1 Biography
o 1.1 Formative years
o 1.2 Marriage and Issue
2 Style and techniques
o 2.1 Women and landscapes
o 2.2 Sketches
o 2.3 Historical paintings and portraits
o 2.4 World War II-era works
3 Critical evaluation
4 Legacy
o 4.1 Amorsolo paintings in the art market
5 Major works
6 Awards and achievements
o 6.1 Major exhibitions
7 See also
8 References
9 External links
Biography[edit]
Formative years[edit]
Fernando Amorsolo was born on May 30, 1892 in the Paco neighborhood, when Manila was still under
Spanish sovereignty, to Pedro Amorsolo, a book keeper, and Bonifacia Amorsolo ne Cueto. Amorsolo
spent his childhood in Daet, Camarines Norte, where he studied in a public school and was tutored at
home in Spanish language reading and writing. After his father's death, Amorsolo and his family moved to
Manila to live with DonFabin de la Rosa, his mother's cousin and a Philippine painter. At the age of 13,
Amorsolo became an apprentice to De la Rosa, who would eventually become the advocate and guide to
Amorsolo's painting career. During this time, Amorsolo's mother embroidered to earn money, while
Amorsolo helped by selling water color postcards to a local bookstore for ten centavos each. Amorsolo's
brother, Pablo Amorsolo, was also a painter. Amorsolo's first success as a young painter came in 1908,
when his painting Leyendo el peridico took second place at the Bazar Escolta, a contest organized by
the Asociacion Internacional de Artistas. Between 1909 and 1914, Amorsolo enrolled at the Art School of
the Liceo de Manila, where he earned honors for his paintings and drawings.


Antipolo by Fernando Amorsolo, depicting Filipinos celebrating a town fiesta.
After graduating from the Liceo, he entered the University of the Philippines' School of Fine Arts, where
De la Rosa worked at the time. During college, Fernando Amorsolo's primary influences were the Spanish
people court painter Diego Velzquez, John Singer Sargent,Anders Zorn, Claude Monet, Pierre-Auguste
Renoir, but mostly his contemporary Spanish masters Joaqun Sorolla Bastida andIgnacio Zuloaga.
Amorsolo's most notable work as a student at the Liceo was his painting of a young man and a young
woman in a garden, which won him the first prize in the art school exhibition during his graduation year.To
make money during school, Amorsolo joined competitions and did illustrations for various Philippine
publications, including Severino Reyes first novel in Tagalog language,Parusa ng Diyos ("Punishment of
God"), Iigo Ed. Regalado's Madaling Araw ("Dawn"), as well as illustrations for editions of thePasion.
Amorsolo graduated with medals from the University of the Philippines in 1914.
After graduating from the University of the Philippines, Amorsolo worked as a draftsman for the Bureau of
Public Works, as a chief artist at the Pacific Commercial Company, and as a part-time instructor at the
University of the Philippines (where he would work for 38 years). After three years as an instructor and
commercial artist, Amorsolo was given a grant to study at the Academia de San Fernando in Madrid,
Spain by Filipino businessman Enrique Zobel de Ayala. During his seven months in Spain, Amorsolo
sketched at museums and along the streets of Madrid, experimenting with the use of light and
color.Through De Ayala's grant, Amorsolo was also able to visit New York City, where he encountered
postwar impressionism and cubism, which would be major influences on his work.


Fruit Pickers Harvesting Under The Mango Tree, 1939. Oil on canvas. Amorsolo demonstrating his use of "Chiaroscuro", an
Italian term describing contrast between light and dark, to achieve a sense of three-dimensionality, especially in regards to
the human figure.
Amorsolo set up his own studio upon his return to Manila and painted prodigiously during the 1920s and
the 1930s. His "Rice Planting" (1922), which appeared on posters and tourist brochures, became one of
the most popular images of the Commonwealth of the Philippines. Beginning in the 1930s, Amorsolo's
work was exhibited widely both in the Philippines and abroad. His bright,optimistic, pastoral images set
the tone for Philippine painting before World War II . Except for his darker World War II-era paintings,
Amorsolo painted quiet and peaceful scenes throughout his career.
Amorsolo was sought after by influential Filipinos including Luis Araneta, Antonio Araneta and Jorge B.
Vargas. Amorsolo also became the favourite Philippine artist of United States officials and visitors to the
country. Due to his popularity, Amorsolo had to resort to photographing his works and pasted and
mounted them in an album. Prospective patrons could then choose from this catalogue of his works.
Amorsolo did not create exact replicas of his trademark themes; he recreated the paintings by varying
some elements.
His works later appeared on the cover and pages of children textbooks, in novels, in commercial designs,
in cartoons and illustrations for the Philippine publications such The Independent, Philippine
Magazine, Telembang, El Renacimiento Filipino, and Excelsior. He was the director of the University of
the Philippine's College of Fine Arts from 1938 to 1952.
During the 1950s until his death in 1972, Amorsolo averaged to finishing 10 paintings a month. However,
during his later years, diabetes, cataracts, arthritis, headaches, dizziness and the death of two sons
affected the execution of his works. Amorsolo underwent a cataract operation when he was 70 years old,
a surgery that did not impede him from drawing and painting. Two months after being confined at the St.
Luke's Hospital in Manila, Amorsolo died of heart failure at the age of 79 on April 24, 1972 .
Four days after his death, Amorsolo was honoured as the first National Artist in Painting at the Cultural
Center of the Philippines by then President Ferdinand Marcos.
Amorsolo was a close friend of the Philippine sculptor Guillermo Tolentino, the creator of the Caloocan
City monument to the patriot Andrs Bonifacio.
Marriage and Issue[edit]
During his lifetime, Amorsolo was married twice and had 14 children. In 1916, he married Salud Jorge,
with whom he had six children. After Jorge's death in 1931, Amorsolo married Maria del Carmen
Zaragoza, with whom he had eight children. Among her daughters are Sylvia Amorsolo Lazo and Luz
Amorsolo. Five of Amorsolo's children became painters themselves.
Style and techniques[edit]


Fruit Gatherer, 1950. Oil on artist's board. A specimen of Amorsolo's conception of an ideal Filipina beauty. It also depicts
his mastery of realism, impressionism and the use of "Chiaroscuro".


Sketch of a woman, whose unfinished style is representative of Amorsolo's sketching.
Women and landscapes[edit]
Amorsolo is best known for his illuminated landscapes,
[5]
which often portrayed traditional Filipino
customs, culture, fiestas and occupations. His pastoral works presented "an imagined sense of
nationhood in counterpoint to American colonial rule" and were important to the formation of Filipino
national identity.
[1]
He was educated in the classical tradition and aimed "to achieve his Philippine version
of the Greek ideal for the human form."
[6]
In his paintings of Filipina women, Amorsolo rejected Western
ideals of beauty in favor of Filipino ideals
[7]
and was fond of basing the faces of his subjects on members
of his family.
[8]

"[The women I paint should have] a rounded face, not of the oval type often presented to us in
newspapers and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy
type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked.
... So the ideal Filipina beauty should not necessarily be white complexioned, nor of the dark brown color
of the typical Malayan, but of the clear skin or fresh colored type which we often witness when we met a
blushing girl."
Fernando Amorsolo
[7]

Amorsolo used natural light in his paintings and developed the backlighting technique Chiaroscuro, which
became his artistic trademark and his greatest contribution to Philippine painting.
[2][3][9]
In a typical
Amorsolo painting, figures are outlined against a characteristic glow, and intense light on one part of the
canvas highlights nearby details.
[3]
Philippine sunlight was a constant feature of Amorsolo's work; he is
believed to have painted only one rainy-day scene.
[3]

Sketches[edit]
Amorsolo was an incessant sketch artist,
[7]
often drawing sketches at his home, at Luneta Park, and in the
countryside.
[8]
He drew the people he saw around him, from farmers to city-dwellers coping with
the Japanese occupation.
[7]
Amorsolo's impressionistic tendencies, which may be seen in his paintings as
well, were at their height in his sketches.
[7]
His figures were not completely finished but were mere
"suggestions" of the image.
[7]

Historical paintings and portraits[edit]
Amorsolo also painted a series of historical paintings on pre-Colonial and Spanish Colonization events.
Amorsolo's Making of the Philippine Flag, in particular, was widely reproduced.
[10]
His The First Baptism in
the Philippines required numerous detailed sketches and colored studies of its elements.
[10]
These diverse
elements were meticulously and carefully set by the artist before being transferred to the final
canvas.
[10]
For his pre-colonial and 16th-century depiction of the Philippines, Amorsolo referred to the
written accounts of Antonio Pigafetta, other available reading materials, and visual sources.
[10]
He
consulted with the Philippine scholars of the time, H. Pardo de Tavera and Epifanio de los Santos.
[10]

Amorsolo also painted oil portraits of Presidents like General Emilio Aguinaldo, and other prominent
individuals such as Don Alfredo Jacb and Doa Pura Garchitorena Toral of Camarines Sur. He also
painted the wedding picture of Don Mariano Garchitorena and Doa Caridad Pamintuan of Pampanga.
He also did a portrait of American Senator Warren Grant Magnuson (19051989), of the Democratic
Party from Washington, whom the Warren G. Magnuson Health Sciences Building at the University of
Washington, and the Warren G. Magnuson Clinical Center at the National Institutes of Health in
Bethesda, Maryland are named after.


Detail from Fernando Amorsolo's 1945Defence of a Filipina Woman's Honour, which is representative of Amorsolo's World
War II-era paintings. Here, a Filipino man defends a woman, who is either his wife or daughter, from being raped by an
unseen Japanese soldier. Note the Japanese military cap at the man's foot
World War II-era works[edit]
After the onset of World War II, Amorsolo's typical pastoral scenes were replaced by the depictions of a
war-torn nation. During the Japanese occupation of the Philippines during World War II, Amorsolo spent
his days at his home near the Japanese garrison, where he sketched war scenes from the house's
windows or rooftop.
[8]

During the war, 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."
[10]
Amorsolo frequently portrayed the lives and suffering of Filipina women during World War II.
Other World War II-era paintings by Amorsolo include a portrait in absentia of General Douglas
MacArthur as well as self-portraits and paintings of Japanese occupation soldiers.
[3]
In 1948, Amorsolo's
wartime paintings were exhibited at the Malacaang Presidential Palace.
[3]

Critical evaluation[edit]
Amorsolo's supporters consider his portrayals of the countryside as "the true reflections of the Filipino
Soul."
[6]

Amorsolo has been accused, however, of succumbing to commercialism and merely producing souvenir
paintings for American soldiers.
[6]
CriticFrancisco Arcellana wrote in 1948 that Amorsolo's paintings "have
nothing to say" and that they were not hard to understand because "there is nothing to
understand."
[6]
Critics have criticized Amorsolo's portraits of Philippine Commonwealth personalities, his
large, mid-career anecdotal works, and his large historical paintings.
[6]
Of the latter, critics have said that
his "artistic temperament was simply not suited to generating the sense of dramatic tension necessary for
such works."
[6]

Another critic, however, while noting that most of Amorsolo's estimated ten thousand works were not
worthy of his talent, argues that Amorsolo's oeuvre should nonetheless judged by his best works instead
of his worst.
[6]
Amorsolo's small landscapes, especially those of his early career, have been judged as his
best works, "hold[ing] well together plastically."
[6]
Amorsolo may "be considered a master of the Philippine
landscape as landscape, even outranking Luna and Hidalgo who also did some Philippine landscapes of
the same measurements."
[6]

Legacy[edit]


Amorsolo's grave in Marikina City
The volume of paintings, sketches and studies of Amorsolo is believed to have reached more than 10,000
pieces. Amorsolo was an important influence on contemporary Filipino art and artists, even beyond the
so-called "Amorsolo school."
[6]
Amorsolo's influence can be seen in many landscape paintings by Filipino
artists, including early landscape paintings by abstract painter Federico Aguilar Alcuaz.
[6]

In 2003, Amorsolo's children founded the Fernando C. Amorsolo Art Foundation, which is dedicated to
preserving Fernando Amorsolo's legacy, promoting his style and vision, and preserving a national
heritage through the conservation and promotion of his works.
[11]

During the post-war period, Insular Life commissioned Amorsolo to create a series of paintings of
historical events for their offices (and which were subsequently used in Insular Life calendars from '50s to
'80s). [1].
Amorsolo paintings in the art market[edit]
At a 2001 auction in Wellesley, Massachusetts, two original 1950s paintings by Amorsolo, The
Cockfight and Resting Under the Trees, were bought by a New Jersey collector for $36,000 and $31,500,
respectively.
[12]
During a 2002 episode of Antiques Roadshow, a Sotheby's antiques appraiser estimated
that an attendee's signed 1945 rural landscape painting by Amorsolo could fetch between $30,000 and
$50,000 at auction.
[13]
At a 1996 Christie's auction, Amorsolo's The Marketplace went for $174,000.
[14]
In
April 2002, Portrait of Fernanda De Jesus was bought for US$ 377,947.
On November 30, 2009, the Family Gathering Fruit sold for USD 77,257 at Christie's. In December
2009, Fruit Gatherer was auctioned off in Maryland, in record-breaking manner, topping 19th and 20th
century European and American paintings. In May 2010, the highest priced Amorsolo painting was
auctioned off at Christie's for about US$ 440,000.
Major works
Flix Resurreccin Hidalgo y Padilla (February 21, 1855 - March 13, 1913) was
a Filipinoartist. He is acknowledged as one of the great Filipino painters of the late 19th century,
and is significant in Philippine history for having been an acquaintance and inspiration for
members of the Philippine reform movement which included Jos Rizal, Marcelo del
Pilar,Mariano Ponce and Graciano Lpez Jaena, although he neither involved himself directly in
that movement, nor later associate himself with the First Philippine Republic under Emilio
Aguinaldo.
His winning the silver medal in the 1884 Madrid Exposition of Fine Arts, along with the gold
win of fellow Filipino painter Juan Luna, prompted a celebration which was a major highlight in
the memoirs of members of the Philippine reform movement, with Rizal toasting to the two
painters' good health and citing their win as evidence that Filipinos and Spaniards were equals.
Contents
[hide]
1 Early life and education
2 Life abroad
3 Paintings and Drawings
4 Books
5 Sources
Early life and education[edit]
Hidalgo was born in Binondo Manila on February 21, 1855. He was the third of seven children
of Eduardo Resurreccin Hidalgo and Maria Barbara Padilla. He studied in the University of
Santo Tomas. He studied law, which he never finished, received a bacheller en filosifia in March
1871. He was simultaneously enrolled at the Escuela de Dibujo y Pintura. In 1876, he previewed
his La barca The Native Boat, Vendedora de lanzones Lanzones Vendor and other paintings at
the Teatro Circo de Bilibid before they were sent to theCentennial
Exposition in Philadelphia, Pennsylvania of that year. In 1878, he painted the poignant and well-
crafted Los mendigos The Beggars.
Life abroad[edit]
In 1877, Resurreccion Hidalgo was awarded second place in the contest for best cover design for
the de luxe edition of Fr. Manuel Blanco's Flora de Filipinas ("Plants of the Philippines"). In
1879 he left for Spain as a pensionado in fine arts of the Ayuntamiento of Manila.

Las virgenes Cristianas expuestas al populacho, 1884, Metropolitan Museum of Manila.
His Las virgenes Cristianas expuestas al populacho (The Christian virgins Exposed to the
Populace), was awarded the ninth silver medal at the 1884 Exposicin General de Bellas
Artes in Madrid. This showed a group of boorish looking males mocking semi-naked female
Christians, one of whom is seated in the foreground, with head bowed in misery. In the same
exposition, Luna's Spoliarium was awarded a gold medal.
In the Exposicin General de las Islas Filipinas in Madrid in 1887, Hidalgo presented La barca
de Aqueronte ("The Boat of Charon"),1887, and Laguna estigia ("The Styx"), 1887, for which he
received a gold medal. La barca was again shown at the Exposition Universelle in Paris and was
awarded a silver medal by an international jury. In 1891 it was accorded a diploma of honor at
the Exposicin General de Bellas Artes of Barcelona. This painting also received a gold medal in
the International Exposition of Fine Arts in Madrid during the commemoration of the 400th
anniversary of the discovery of America.


La Barca de Aqueronte, 1887, Museo Nacional de Pintura (Madrid).
He exhibited Adios al sol ("Farewell to, the Sun"), 1891 at the Exposicin Internacional de
Bellas Artes in Madrid in that year and El crepusculo("The Dawn"), 1893, at the Universal
exposition in Chicago, also in that year. He showed both paintings again at the Exposicin
Artistica de Bilbao in August 1894. In the Exposicin Regional de Filipinas in Manila in January
1895, Hidalgo was represented by his paintings done in the grand romantic manner. In April of
the same year he exhibited Oedipus y Antigone("Oedipus and Antigone"), El violinista ("The
Violinist"), Cabeza napolitana ("Head of a Neapolitan"), Cabeza del viejo ("Head of an Old
Man"), Un religioso ("A Religious"), and others at the Salon at Champs-lyses, Paris.
Hidalgo received a gold medal for his overall participation at the Universal Exposition in St.
Louis, Missouri in 1904. His El violinista was individually accorded a gold medal. In 1912, he
visited his relatives in Manila for six months, after which he hurried back to Paris. His mother,
who had not seen him for 30 years, wanted him to be with her in her last days but he had to
leave. The following year, Resurreccin Hidalgo died at Sarri, Barcelona where he went to
recuperate from failing health. His remains were brought to Manila, where it now lies entombed
in the family mausoleum at the Cementerio del Norte.
Paintings and Drawings[edit]

Laguna Estigia

Las Virgenes Cristianas Expuestas Al Populacho

La Barca de Aqueronte