Timeline Of Philippine Arts Will Be A Thing Of The Past And Here's Why
The Timeline of Filipine Arts traces the evolution of art in the Philippines from pre-colonial days to present day. It is a compilation of works produced by local artists, most of whom are currently living and working in the Philippines and abroad. The book celebrates the diversity of Filipino art as well as the contributions of various exponents from the country's diaspora. Illustrations and watercolors complement the text, bringing life to the images and providing an in depth look at the life and times of the Filipino people.
Timeline of Philippine Arts presents both Filipino and foreign artists from various disciplines with a platform to showcase their art forms. With its focus on social realism, the book provides an opportunity for artists from different countries to bring reality to their art. In this respect, it is a companion piece to the popular book by Barbara Kim, The Making of Filipino Art. However, the book presents contemporary art from different artists in different time frames, thereby ensuring that the contents are not one-size-fits-all.
The main feature of the timeline of Philippine arts, according to the editors, is the preoccupation with social reality. Exploring Philippine art through the lens of history affords Filipinos an insight into the changing relationships among its diverse cultural and ethnic groups. In this respect, the book showcases work by Filipino and foreigners artists who address issues of unity and Difference. Two groups of contemporary art in the form of a timeline are included here – the Philippines-focused timeline of Philippine contemporary art, and that of Filipino and foreign art forms which focus on the country's Indigenous People. The editors wisely choose not to include works produced by too many artists as the reader may become confused by the diversity and rarity of these artistic styles.
The book's focus on Philippine contemporary art forms is complemented by a detailed account of the life and works of Philippine greats such as Alejo Buena, Al Angeles Guincho, and Don Gregora. Each artist is described with short biographies as well as a selected drawing and portrait. Most photographs are accompanied by a description. Illustrations and maps are also included for better understanding. Detailed discussions on various aspects of Philippine art as related to the country's history, environment, and people are presented in the text.
The focus of the text on social realism and its precondition, for example, is complemented by an account of the social response to the works of the major artists of the pre-war period and the Post-war period. With the war over and the coming of freedom, these artists had to go back to the drawing board and produce works that could genuinely combat the circumstances of their times. Their accounts of social realism and the precondition for its formation, thus, provide an interesting bridge for the study of contemporary philippine arts from the areas beyond metropolitan Manila.
The most comprehensive and concise account of Philippine contemporary arts is the work of Alejo Buena. Buena's paintings have helped make the pre-war era into a decade of color and light, and he has become something of a Filipino flicker in paintings that he made during the war. His pre-war work, which is based on rural life in the Philippines and the nature of the rice fields that dotted the countryside during that time, is a magnificent example of the blending of visual and aural affect. In his Post-war work, which has become more fashionable now that the country is open to foreign investors, Buena explores other forms of expression like sea and sky and abstract designs that convey the agelessness of life in the Philippines.
Another important voice in the development of contemporary philippine arts from the cities of the Philippines is the works of Jejunhong Kim. Born in Germany, Jejunhong Kim emigrated to the Philippines when he was a teenager and settled in Metro Manila where he practiced both painting and sculpture. While in the Philippines, he formed the group called the Generation of Light with his wife Jovani. This group later went on to establish their own studio and bring in others to join them.
The growth of Philippine contemporary art is not surprising when you look at the current state of the country's economy. Manila has emerged as one of the top cities in the world for business, finance, technology and other industries. All the main economic engines of the country have been harnessed to create something that can no longer be avoided: a growing middle class. As this group has begun to purchase property and build businesses, a whole new set of artists has come to be. This timeline of Philippine arts will only continue to grow as more artists come to call the Philippines home.
Timeline of Philippine Arts presents both Filipino and foreign artists from various disciplines with a platform to showcase their art forms. With its focus on social realism, the book provides an opportunity for artists from different countries to bring reality to their art. In this respect, it is a companion piece to the popular book by Barbara Kim, The Making of Filipino Art. However, the book presents contemporary art from different artists in different time frames, thereby ensuring that the contents are not one-size-fits-all.
The main feature of the timeline of Philippine arts, according to the editors, is the preoccupation with social reality. Exploring Philippine art through the lens of history affords Filipinos an insight into the changing relationships among its diverse cultural and ethnic groups. In this respect, the book showcases work by Filipino and foreigners artists who address issues of unity and Difference. Two groups of contemporary art in the form of a timeline are included here – the Philippines-focused timeline of Philippine contemporary art, and that of Filipino and foreign art forms which focus on the country's Indigenous People. The editors wisely choose not to include works produced by too many artists as the reader may become confused by the diversity and rarity of these artistic styles.
The book's focus on Philippine contemporary art forms is complemented by a detailed account of the life and works of Philippine greats such as Alejo Buena, Al Angeles Guincho, and Don Gregora. Each artist is described with short biographies as well as a selected drawing and portrait. Most photographs are accompanied by a description. Illustrations and maps are also included for better understanding. Detailed discussions on various aspects of Philippine art as related to the country's history, environment, and people are presented in the text.
The focus of the text on social realism and its precondition, for example, is complemented by an account of the social response to the works of the major artists of the pre-war period and the Post-war period. With the war over and the coming of freedom, these artists had to go back to the drawing board and produce works that could genuinely combat the circumstances of their times. Their accounts of social realism and the precondition for its formation, thus, provide an interesting bridge for the study of contemporary philippine arts from the areas beyond metropolitan Manila.
The most comprehensive and concise account of Philippine contemporary arts is the work of Alejo Buena. Buena's paintings have helped make the pre-war era into a decade of color and light, and he has become something of a Filipino flicker in paintings that he made during the war. His pre-war work, which is based on rural life in the Philippines and the nature of the rice fields that dotted the countryside during that time, is a magnificent example of the blending of visual and aural affect. In his Post-war work, which has become more fashionable now that the country is open to foreign investors, Buena explores other forms of expression like sea and sky and abstract designs that convey the agelessness of life in the Philippines.
Another important voice in the development of contemporary philippine arts from the cities of the Philippines is the works of Jejunhong Kim. Born in Germany, Jejunhong Kim emigrated to the Philippines when he was a teenager and settled in Metro Manila where he practiced both painting and sculpture. While in the Philippines, he formed the group called the Generation of Light with his wife Jovani. This group later went on to establish their own studio and bring in others to join them.
The growth of Philippine contemporary art is not surprising when you look at the current state of the country's economy. Manila has emerged as one of the top cities in the world for business, finance, technology and other industries. All the main economic engines of the country have been harnessed to create something that can no longer be avoided: a growing middle class. As this group has begun to purchase property and build businesses, a whole new set of artists has come to be. This timeline of Philippine arts will only continue to grow as more artists come to call the Philippines home.
 |
| Timeline of Philippine Art PDF Contemporary Art – timeline of philippine arts | timeline of philippine arts |
 |
| Philippine Art: A Timeline by Trisha B | timeline of philippine arts |
 |
| THE TIMELINE OF PHILIPPINE ART HISTORY – CALABARZON – timeline of philippine arts | timeline of philippine arts |
 |
| Timeline of Philippine Arts PDF Contemporary Art – timeline of philippine arts | timeline of philippine arts |