planting rice by fernando amorsolo essay

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Ms. Pensive

A peek through another's pensive side, planting rice (1951) by fernando amorsolo.

• Mimetic – with respect to the Subject Matter

This painting I believe is a representational art as it portrays something other than its form. This painting falls under the classification of painting as Genre painting as it is painted in the contemporary life of the Filipino farmers in 1951, when it was painted, as they are engaged in their regular every-day occupation and activities. Behind the workers, a farmer with a carabao ploughs. In the background is a cluster of nipa huts along the thick accumulation of trees and weeds. The central grouping of lush trees and hills provides an idyllic setting for the workers besides a mountain view or background. I think this painting basically captures the traditional Filipino occupation of the farm life of men and women in a hot sunny day. It depicts how enduring they are and how the farmers work together. It portrays a provincial setting in which the farmers wear traditional clothes for farming in the 1950s and captures that fashion as I think if a modern artist would draw with a similar subject, women farmers will not be wearing skirts or the traditional look of women back then as time has changed. The painting is very Filipino with respect to the subject matter. The subject matter itself defines the aesthetic qualities of this painting relating it to the period in which it is created to appreciate more its overall beauty.

• Expressive – with respect to the Artist

I would say that this painting has a relationship with Amorsolo. His works usually depicts people and barrio scenes of the Philippines. Those paintings of the nationalistic, the true character, smiles, emotions or feelings and spirits of the Filipino people which say something about his creations that falls in the same classification. “His 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 is best known for his illuminated landscapes, 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.” (Wikipedia) Therefore, Amorsolo painted a peaceful painting such as planting rice to get back to his usual expression using the light technique of painting.

He also spent his childhood in the province of Camarines Norte in which I believe affected the subject matter of his paintings as provincial, tropical etc. He is also soft-spoken and his works tells a little bit of himself as he puts his self in the painting depicting a peaceful life, quietly doing his job as a source of living (painting and farming).

• PRAGMATIC – with respect to the AUDIENCE

My self is an audience to the work of Amorsolo. The perceived value, importance, function or significance of this painting is the aesthetic appreciation I give to it. The surface look is beautiful as first glance, as I cannot paint as realistically as Amorsolo paints. The underlying values are sentimentality with respects to the subject matter as very Filipino depiction of a scene familiar to all Filipinos. I believe the painting aims to teach or to deliver some value to an audience especially if he or she is a foreigner. He or she would interpret the painting as showing the endurance, hard work and the lifestyle of the Filipinos. In short it gives a glimpse of the Filipino culture in one aspect such as the farm life. The agricultural means, worker, animals, equipments, huts, clothes, weather, irrigation and etc. are visibly in the painting that I think would give an idea to the audience. It may not be appreciated by a great number of audiences such as the mass considered as uneducated or unenlightened therefore, cannot appreciate or critically analyze a painting in an overall assessment of its value and importance, yet they may appreciate and understand it casually. I think one of primary values of this painting is simply to contribute to the usage of the sense of sight of the audiences which are us, the Filipinos, to simply appreciate a work of art that does not need science but to humanize us, just using free judgment and leaving the more specific details to the experts as a form of advance studies for Art students. This ‘Planting Rice”, a typical theme to paint by many Filipino artists, but beyond that, the several versions proves that it is not only painted because of the simplicity but the underlying significance to our culture.

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thanks for this

glad to be of help, never knew people are seeing this site. 🙂

Thank you! 🙂

You are welcome..

How is his painting relevant in our present? I just want to ask your opinion for my reporting

Come to think of it. The essay as is, is still relevant to our present. We Filipinos still plant rice traditionally without machinery being utilised.

How the planting rice by amorsolo evokes?

Please read the essay

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Art Appreciation

Rice planting.

{ March 11, 2008 @ 6:13 pm } · { Painting }

By Joyce Placino

True Philippine culture, this is the theme that composes most of Fernando Amorsolo’s artworks. Rice planting is among those that depicts the real Filipino tradition that is still applicable until the present time.

The painting is set on a rice field wherein farmers, regardless of their gender, are on with their usual work under a bright sunny day. It’s visual weight is light because the colors used were mostly pastel in nature. No dark colors were used to produce a feeling of calm and peace. Even though rice planting is definitely hard work, the painting made it look like a simple work and fine day to be out.

It was an ideal picture of provincial life like most of his paintings. The particular genre that was used is realism. He painted the details as to how it might look like in real life. However, faces of the farmers were not vividly detailed because their Buri hats covered them. Supposing that the sun was on its peak in that picture.

Amorsolo’s trademark were the backlighting technique and the Filipino tradition themes. In rice planting, the backlighting technique manifested wherein figures are outlined against a characteristic glow, and intense light on one part of the canvas highlights nearby details. Sunlight is a consistent element in Amorsolo’s works. Brush strokes were smooth which emphasizes the serene feel intended by the artist.

Fernando Cuerto Amorsolo is the very first painter to be given the recognition as the country’s national artist. His work titled “Rice PLanting” which was made in 1922 was one of his most famous works. This was when the Philippines was under the American colonial rule and it is impressive that Amorsolo consistently painted pictures reflecting the true Filipino soul despite the colonization. Although, critics have been claiming that Amorsolo did these to serve as souvenirs to the Americans not withstanding the fact that “Rice planting” became so popular that time that it was used in calendars, brochures etc.

Critics were also claiming that Amorsolo’s works have no deep meanings. There is nothing to appreciate aside from how it was made. But, still Amorsolo was the proponent artist to promote the impression of the Filipino identity on canvass.

Photo by: http://www.allinsongallery.com

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Striker11 Said:

on September 15, 2008 at 1:10 pm

Thnx 4 d description. It really helps me a lot doing my assign.

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Saturday Volcano Art: Fernando Amorsolo, ‘Planting Rice with Mayon Volcano’ (1949) 9 May 2009

The painter Fernando Amorsolo (1892-1972) was a dominant figure in the visual arts of the Philippines during the decades before the Second World War and into the post-war period. His oeuvre is characterized by scenes of the Filipino countryside, harmoniously composed and richly coloured, saturated with bright sunlight and populated by beautiful, happy people: it is an art of beauty, contentment, peace and plenty – which perhaps explains its enduring popularity in the Philippines to this day.

Amorsolo was committed to two fundamental ideas in his art: first, a classical notion of idealism, in which artistic truth was found through harmony, balance and beauty, and second a conservative concept of Filipino national character as rooted in rural communities and the cycles of village life. The two come together in pastoral scenes such as ‘Planting Rice with Mayon Volcano’, painted in 1949. Here, happy Filipino villagers in their bright clothes and straw hats work together amid a green and sunlit landscape of plenty. Behind them, releasing a peaceful plume of steam, rises the beautifully symmetrical cone of Mayon stratovolcano. It is the ash erupted by the volcano over its highly-active history that has made the surrounding landscape fertile, and the tranquil cone appears here to be a beneficial spirit of the earth standing guardian over the villagers and their crops. Mayon’s eruptions can be very destructive (as in the violent eruption of 1947, not long before this picture was painted, when pyroclastic flows and lahars brought widespread destruction and fatalities) but here the relationship between the volcano and the surrounding landscape is depicted as a positive, fruitful and harmonious one. Mayon is a celebrated symbol of the Philippines, and its presence in Amorsolo’s painting emphasizes his wish to represent the spirit of the nation on canvas.

‘Planting Rice with Mayon Volcano’ is in the collection of the Metropolitan Museum of Manila .

For all ‘Saturday volcano art’ articles: Saturday volcano art « The Volcanism Blog .

Further reading

Fernando C. Amorsolo Art Foundation Fernando Amorsolo works at Frazer Fine Arts The National Artists of the Philippines: Fernando C. Amorsolo Alice G. Guillermo, Image to Meaning: Essays on Philippine Art (Manila: Ateneo de Manila University Press, 2001) Paul A. Rodell, Culture and Customs of the Philippines (Westport, CT: Greenwood Press, 2002)

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[…] Another recent post about the beautiful symmetrical shape of Mayon can be found at the Volcanism blog. […]

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Art Now and Then

"Art Now and Then" does not mean art occasionally. It means art NOW as opposed to art THEN. It means art in 2020 as compared to art many years ago...sometimes many, many, MANY years ago. It is an attempt to make that art relevant now, letting artists back then speak to us now in the hope that we may better understand them, and in so doing, better understand ourselves and the art produced today.

Saturday, February 8, 2014

Fernando amorsolo.

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Writing Philippine History of Ideas and Fernando Amorsolo's Modern Art

2011, Kritika Kultura

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Life of an artist: Fernando Amorsolo

Fernando Amorsolo, a Filipino painter, painted rural landscapes and portraits between 1892 and 1972. His skill and expertise with light are what are most renowned about him. Throughout his lifetime, Fernando Cueto Amorsolo created more than ten thousand paintings and sketches employing backlighting and natural illumination. His best-known creations are his paintings of the dalagang Filipina, Filipino landscapes, portraits, and WWII battle scenes.

Career- Philosophy & Style of Work | Fernando Amorsolo

On May 30, 1892, Fernando Amorsolo was born in Manila’s Paco neighborhood. At age 13, he began working as an apprentice for his mother’s first cousin, the renowned Filipino artist Fabian de la Rosa. Amorsolo began his education in 1909 at the Liceo de Manila before enrolling in the University of the Philippines ‘ fine arts program, from which he graduated in 1914. Enrique Zobel de Ayala, a businessman, gave Amorsolo a scholarship to attend the Academia de San Fernando in Madrid in 1916 after creating the Ginebra San Miguel emblem. Diego Velasquez, a painter, had a significant impact on his painting style at this time.

He spent three years working as a commercial artist and adjunct professor at the institution. He experimented with the use of light and color while sketching for seven months in Madrid’s museums and on the city’s streets. In New York, the works of the postwar impressionists and cubists significantly affected him. He opened his studio when he got back to Manila .

Amorsolo’s most significant contribution to Philippine painting at this time was the development of the use of light, or more specifically, backlight. An Amorsolo painting typically has a glow that the figures are delineated against, and at one point in the canvas, there is typically a burst of light that brings out the minute details.

Amorsolo produced an enormous amount of paintings throughout the 1920s and 1930s. At the New York World’s Fair in 1939, his oil painting Afternoon Meal of the Workers took home the top honor. Amorsolo continued to paint during World War II. Gen. Douglas MacArthur’s image was created in absentia at considerable personal danger for the Philippine collector Don Alfonso Ongpin.

Amorsolo continued to paint from his Manila house after the start of World War II.

He painted paintings that depicted human sorrow and wartime events together with self-portraits and the Japanese occupation soldiers of the period rather than landscapes with sunny sky. In 1948, the Malacanang presidential palace displayed his wartime artwork. Amorsolo served as the University of the Philippines’ college of fine arts director following the war until resigning in 1950. He had 13 children from two marriages, five of whom became painters.

Many landscape paintings by Filipino painters, especially the early landscape works of abstract painter Federico Aguilar Alcuaz, show Amorsolo’s influence. Portraits were Amorsolo’s specialty. He created oils of all the presidents of the Philippines, as well as revolutionary commander Gen. Emilio Aguinaldo and other well-known Philippine personalities.

Due to the demand for his paintings, he cataloged them and created a method to paint them more quickly. Before retiring in the early 1950s, Fernando Amorsolo held various positions throughout his career, including the instructor, a draughtsman for the Public Works, chief artist for the Pacific Commercial Company, illustrator for children’s books, and periodicals, and director of the School of Fine Arts.

Additionally, he painted several depictions of combat, such as Bataan, Corner of Hell, and One Casualty. Despite having arthritis in his hands, Amorsolo painted well until his late 70s. Even in his later works, the trademark tropical sunshine of Amorsolo is present. He claimed to detest “sad and gloomy” artwork ; however, he only produced one painting with raindrops.

Recognition after death

Four days after his demise, Amorsolo was honored as the first National Artist of the Philippines at the Cultural Center of the Philippines. More than 10,000 paintings, sketches, and other pieces of art are estimated to have been created by Amorsolo. Amorsolo considerably influenced contemporary Filipino art and artists outside the so-called “Amorsolo school.”

In order to promote Fernando Amorsolo’s aesthetic and vision, preserve a piece of national history, and uphold his legacy, Amorsolo’s children formed the Fernando C. Amorsolo Art Foundation in 2003. Amorsolo’s paintings have achieved record prices at auction thanks to the growth of the Philippine art market since the 2000s.

On April 28, 2002, a Portrait of Fernanda de Jesus from 1915 auctioned out by Christie’s in Hong Kong for PHP19.136 million set a new record. A 1923 Lavanderas piece held by an American collector that sold for PHP20.83 million at a Christie’s auction in Hong Kong later eclipsed this milestone, which was first reached on May 30, 2010.

The popularity of local auction houses in the country significantly increased the value of Amorsolo’s works due to the continuous repatriation of Philippine art in the 2010s.

Mango Gatherers, 1931 work is frequently referred to as the Conde de Peracamps Amorsolo because Antonio Méilan Zóbel, the 4th Count of Peracamps, originally owned it; it was sold at a Leon Gallery auction in Manila on June 9 for a record-breaking PHP46.720 million.

On February 23, another Leon Gallery auction in Manila saw the highest price for a 1946 Amorsolo genre painting titled Cooking beneath the Mango Tree, which had previously been owned by the Compaa General de Tabacos de Filipinas. Since then, other Amorsolo pieces have sold for more than PHP20 million.

The artist’s post-war works recently broke a record when a 1949 genre piece titled Planting Rice sold for PHP 30.368 million at a Salcedo Auctions sale on March 13, 2021. The Jorge B. Vargas Museum and Filipiniana Research Center in Manila are home to a substantial collection of Amorsolo’s artwork.

Reference : 

Spellmangallery.com. 2022. Fernando Amorsolo – Artists – Spellman Gallery. [online] Available at: <https://www.spellmangallery.com/artists/fernando-amorsolo> [Accessed 24 June 2022].

Biography.yourdictionary.com. 2022. Fernando Amorsolo. [online] Available at: <https://biography.yourdictionary.com/fernando-amorsolo> [Accessed 23 June 2022].

Fernandoamorsolo.com. 2022. Fernando Amorsolo Biography – We Buy and Sell Fernando Amorsolo Paintings. [online] Available at: <http://www.fernandoamorsolo.com/Fernando_Amorsolo_Biography.html> [Accessed 25 June 2022].

Fernandocamorsolo.com. 2022. Fernando C. Amorsolo Art Foundation. [online] Available at: <http://www.fernandocamorsolo.com/> [Accessed 25 June 2022].

Sakshi Jain is a fifth-year architecture student at the Mysore School of Architecture in Mysuru. She believes in creating experiences and exploring - big and small - which explains her love of language. With a rekindled love of reading and a desire to travel, she intends to go places and share her experiences.

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Planting Rice

Brought to you by, more from asian 20th century art (day sale).

Peoples of the Philippines

Cultural Center of the Philippines

ENCYCLOPEDIA OF PHILIPPINE ART

Planting Rice [Fabian de la Rosa]

1921 / Oil on canvas / 109 x 190.6 cm / Artist: Fabian de la Rosa / Malacañan Palace collection

This painting is a 1921 oil version of the original painting, also called Planting Rice , done in 1904, which was exhibited at the Saint Louis International Exposition, and which won a Gold Medal for Fabian de la Rosa (Santiago in Labrador 2007, 13). An earlier, smaller version of this painting was done by de la Rosa in 1902, and this appears to be compositional precursor of later versions of Planting Rice . The motifs consist of a line of predominantly female and some male farmers planting new shoots of rice crops in a wet field positioned at the center of the composition; the wet field they are on is bordered by narrow pilapil (rice paddy) hedges that demarcate other wet and planted fields in the foreground and background, creating a shallow orthogonal perspective ending in a horizon line demarcated by a row of bamboo groves and other trees; lastly, overhead are hovering gray rain clouds, indicating the scene as the start of the monsoon rice-planting season.

In this 1921 version, the center line of farmers planting rice is divided into two groups. The gap between the groups is filled in by an openwork bamboo basket at the right-center foreground from where more rice shoots are stored, ready for planting. A bare-chested farmer, wearing pinkish pantaloons and a conical hat, is also placed at the extreme left side of the background to add greater stability to the composition. This version also increases the size of the background of planted rice fields, and counterbalances the placement of the bamboo basket with a steeply roofed thatched house to the left-center background. The horizon line of trees is also more prominent, while the grey cloud cover is broken with gaps near the horizon, and toward the upper left-center, where a bird is silhouetted.

This is a successful example of a native genre scene utilizing an academic realist style that eventually gave birth to an entire tradition of depicting Philippine rural scenes that would be popularized by Fernando Amorsolo and the Conservatives of the Mabini School from 1920 to 1950. A descendant of the tipos del pais (country scenes) and rural landscape scenes of the latter Spanish colonial period , Planting Rice was the result of Filipino artists transcribing the academic realist style to become legible to American colonial officials eager to showcase peaceful industry in the countryside after the Philippine-American War. Planting Rice would also play an important role in the crafting of an incipient narrative meant to produce Filipino nationalist affiliation with the scenery and life of lowland agrarian society rather than with urban lifestyles engendered by industrialization.

Written by Reuben R. Cañete

Santiago, Luciano P. R.2007a. “Fabian de la Rosa, 20th-Century Master.” In Fabian de la Rosa and His Times , edited by Ana Maria Theresa P. Labrador, 4-31. Quezon City: UP Jorge B. Vargas Museum and Filipiniana.net.

———. 2007b. Fabian de la Rosa and His Times . Edited by Ana P. Labrador. Quezon City: UP Jorge B. Vargas Museum and Filipiniana.net.

Zafaralla, Paul. 1986. “Planting Rice: Fabian de la Rosa.” In A Portfolio of 60 Philippine Art Masterpieces , 81-83. Quezon City: Instructional Materials Corporation.

This article is from the CCP Encyclopedia of Philippine Art Digital Edition.

Title: Planting Rice [Fabian de la Rosa]

Author/s: Written by Reuben R. Cañete

Publication Date: November 18, 2020

Access Date: September 03, 2024

Copyright © 2020 by Cultural Center of the Philippines

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