Filipino Sculptures

3621 Words Jun 10th, 2011 15 Pages

Filipino sculptors came to be known in the middle of the 19th century. Classical Philippine sculpture reached its peak in the works of Guillermo Tolentino (1890-1976). His best known masterpiece is the Bonifacio Monument, which is a group sculpture composed of numerous figures massed around a central obelisk. The principal figure is Andres Bonifacio, leader of the revolution against Spain in 1896. Behind him stands Emilio Jacinto, the brains of the Katipunan. The Bonifacio Monumen t - completed in 1933 -- marked the apex of Tolentino'’s career.

Guillermo Estrella Tolentino (1890-1976), a teacher and sculptor, is a National Artist in sculpture of the Philippines . Reflected in his works being patriotic because he
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Some of his major works include Kaganapan (1953), Kiss of Judas (1955), Thirty Pieces of Silver , The Transfiguration, Eternal Gardens Memorial Park (1979), UP Gateway (1967), Nine Muses (1994), UP Faculty Center, Sunburst (1994)-Peninsula Manila Hotel, the bronze figure of Teodoro M. Kalaw in front of National Library, and murals in marble at the National Heroes Shrine, Mt. Samat, Bataan. One masterpiece he dedicates to the Boholanos is the Sandugo or Blood Compact shrine in Bohol, Tagbilaran City, a landmark at the site of the first international treaty of friendship between Spaniardsand Filipinos. This is now a tourist attraction in Bohol province. This shrine is an expression of Abueva's awareness of his roots, and a manifestation of his artistic talents.

[pic] mother and child
Sculpture of mother and child by Contreras made from discarded century-old molave hardwood, texturized stainless steel and other materials indigenous to the Philippines
Rey Paz Contreras was born August 31, 1950. He is an outstanding Filipino sculptor working with urban refuse and ecological materials as artistic media. He is encouraged by the native Filipino traditions and creates visual forms of current images that discover a distinct Filipino aesthetics. Contreras' pioneered the exercise of travieza or hardwood railroad tracks through the late 70s.
An activist during the oppressive Marcos government, Contreras use his art as a form of agency. Using local and available

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