CHAPTER 5

Artist and Artisan

Let’s start!

At the end of the chapter, the students are expected to:

1. Outline the history of the emergence of artists and artisans;

2. Identify and define the different individuals and groups who take on varied roles in the world
of art and culture; and
3. Classify the practices of artists in terms of form, medium, and technique.

Let’s ponder!

The art is one of the most significant ways in which we try to grapple with how the present
unfolds. In Robert Henri’s The Art Spirit (1923), he stated that “Art when really understood is the
province of every human being. It is not an outside, extra thing. When the artists is alive in any
person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-
expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he
opens ways for a better understanding. Where those who are not artists are trying to close the book he
opens it, shows there are more pages possible.” There is a gap when one continues to persist with the
idea that art is something that is detached from the every day. In what has been reduced to a blur, it
became more integral that man pursues a better understanding of the world where he lives. One of the
avenues that make this both possible and exciting is the engagement with art and culture.

Let’s talk!

Artists have treaded a long history. Their roots can likewise be traced in one of the major
milestones in human civilization. In the first episode of the video series “New Ways of Seeing,” a
project by The New York Times’ T Brand Studio and jewelry giant Tiffany & Co., art critic Jerry
Saltz (2016) underscored the significance of not only the discovery of the cave paintings, but also the
paintings themselves. He asserted that “these first artists invented a way to get the three-dimensional
world into two dimensions and attach value to their own ideas. And all of the history of art flows forth
from this invention”. He is apparently referring to the drawings and painted images of animals,
hunting scenes, and a variety of symbolic figures created during the Stone Age. Examples of these are
scattered all around the world, from France, Spain, Namibia, Australia, and Argentina to name a few.
Of course, these works were not yet subsumed in the highly systemized art world, let alone considered
as “art”.

Out of the shadows of these caves, astounding headway was seen moving down history from
Bronze Age down to the Middle Ages in terms of how man continued to utilize his surroundings to
create varying expressions of his ideas and feelings. Through the exploration of his immediate
environs, trade, and other experimentations, new modes, media, and techniques brought to light a
wide array of artworks that instantiate the wealth that can be done when the artist’s vision is tapped,
harnessed, and realized. But the most integral development that allowed this identify of an “artist” to
fully emerge is the systematization and sophistication that his world – the art world – has become.

The impulse to create is at the core of human civilization, much like the impulse to
communicate through language. Early on, artists were embedded in the development of culture, and in
turn, art was nurtured by the varying cultures in which it existed. The works produced varied from the
prosaic to those that explored a wide range of aesthetic possibilities seen every day. The interaction
with these objects was intimate in the sense that their presence was experienced in a multitude of
ways and in all of the affairs of man: ornamentations in tools and other surfaces, weaving patterns in
textiles, visual features and the design/plan for architectural structures, and ritual and burial
implements, among others.
 Artists even created places and spaces where communities may gather. There are numerous
monuments and memorials that are plotted over the world such as the infamous Vietnam Veterans
Memorial in Washington DC. There are others like the cave paintings that have an aura of mystery
like the Pyramids of Giza, or have alluded comprehension like the Stonehenge.

It was in this light that artists worked and most of the time, the products were considered not
as artworks at all but rather as craft or placed under some other category. The use of the word
“embedded” may be taken to mean that what was created automatically circulated in the operations of
society and was not integral to an art object that the identity of its maker be known. It did not take
long before this changed.

A master artisan or craftsman would then be open to hiring apprentices who would be under
his tutelage and instruction. In these guilds, artistry and technology flourished under one roof. In the
context of the cathedral construction site, the master mason oversaw the work by numerous men of
varying artistic proclivities and skills, from the smiths (metal work), carpenters, carriers, and glaziers
(stained glass artists), among others.

The Artisan and the Guilds

The designation Four Crowned Martyrs or Four Holy Crowned Ones (Latin, Sancti Quatuor Coronati)
refers to nine individuals venerated as martyrs and saints in Early Christianity. The nine saints are
divided into two groups:
1. Severus (or Secundius), Severian(us), Carpophorus (Carpoforus), Victorinus (Victorius, Vittorinus)
2. Claudius, Castorius, Symphorian (Simpronian), Nicostratus, and Simplicius
According to the Golden Legend, the names of the members of the first group were not known at the time
of their death "but were learned through the Lord’s revelation after many years had passed.”]They
were called the "Four Crowned Martyrs" because their names were unknown ("crown" referring to the
crown of martyrdom).

Albrecht Durer

In the visual arts, an example of an artist strongly influenced by this

was Albrecht Durer. Born in 1471, his father was a goldsmith; that is why
he also apprenticed as such. Later on, he shifted to the visual arts. During
that time, it was customary to travel after completing an apprenticeship to
gather more experience and knowledge elsewhere. His life was ripe with
travels, fame, and fortune. One of the biggest credits to his practice was
his dedication and interest in scholarship with his attendance to a close
friend’s meetings of artists and scholars. He also published quite a number
of books and treatises including those that talked about practical skills as
an artist which would be useful to other artisans and
craftsmen who dared to read it. Mostly on perspective and human proportion, his works were written
in the first-person singular helped that his illustrations were laid out opposite the text that explains it.
Although he was caught between the times when canons were still being followed, he suggested to his
readers that his was merely recommendations, and that if they found a better way to go about it, then
one should depart from what he had learned.

Fernando Amorsolo (1892-1972)

Labelled the country’s first National Artist in 1972 by then President Marcos, Fernando
Amorsolo is often known as the ‘Grand Old Man of Philippine Art’. The Spanish-trained realist
developed a backlighting technique, where his colorful depictions of local people reflect the radiance
of the Philippine sun. The figures and illuminated landscapes magically glow on the canvas. Despite
his deteriorating health and failing eyesight, he remained prolific until the end, producing up to 10
paintings a month until his death at the age of 80. Amorsolo’s creativity defines the nation’s culture
and heritage to this day.

The Vargas Musuem – found inside the campus of his alma mater, the University of the
Philippines, displays a notable selection of his work.

Although the timeline is a bit skewed, the culture of

artisans became prevalent in the Philippines as well,
particularly during the Spanish colonial period. Formerly
done with the spirit of the communal and the everyday,
patronship changed the way art was perceived. This was
both the case for religious and secular art, wherein the
existence of artisans proved to be of immense use. It was
through mimesis or copying that artisans first learned to
depict religious images and scenes. Friars, being non-artists
themselves, provided the references that artists could use.
During the
propagation of the faith, Spanish friars commissioned a lot of artisans to carve, paint, and engrave
images for churches and public sites. Each locality had a characterizing style or feature in the way
their depictions were made; the manner in which Boholano artists would paint saints and scenes were
different from those of Rizal or in Laguna. Like other Baroque churches that benefitted from the
talents of artists, Spanish colonial churches were also lined with frescos and ceiling paintings, with a
number of them undergoing restorations in the early 1900s. Project Kisame is a collective endeavor
amongst enthusiasts and advocates who aimed to promote this art form through documentation,
engagement, and appreciation of surviving ceiling paintings in more than 60 churches in the
Philippines. Technology and heritage conservation occupied a substantial part of this project.

Project Kisame

We are saddened to hear the news that the roof

and ceiling of the left transept of the Parish Church of
the Most Holy Trinity in Loay, Bohol collapsed two
weeks ago, according to Fr. Joel Halasan, cura of the
parish, and fellow friend Arch. Reynaldo Lita of
NHCP. That area was being supported by shoring and
temporary bracing, since the church structure had
greatly weakened after the earthquake. However we
are very fortunate that the Project Kisame team had
completed and provided its most comprehensive documentation work of the ceiling paintings of
native Boholano painter Rosalio Oritz in Loay church, thanks to the support and funding from the
National Commission for Culture and the Arts and the Diocese of Tagbilaran. It its hoped that our 2D
and 3D plans, ultra-high resolution images, studies and recommendations will pave way for an
eventual restoration of the parish's enduring artistic legacy.

One example of Spanish architecture that has been documented is the Church of the Most Holy
Trinity in Loay, Bohol. Built in 1822, the ceiling paintings were rendered trompe l’oeil
 biblical scenes. In 2003, it became a National Historical Landmark. It was therefore unfortunate that
this church was one of those heavily damaged during the devastating earthquake that rattled Bohol in
2013. The only section of the structure that remained erected was the bell tower. Although it is but a
fragment of the real thing, the photos taken by Project Kisame were able to document the beauty of
the ceiling paintings prior to its distraction.

The Artist and His Studio

Today,
artist studios have been a place
of interest for the public. It is
interesting to see and learn
where creativity manifests
itself, especially since an artist
studio is an extension of artist
himself. The studio model
dates back from the
Renaissance. Therein, artists
flexed their relationship with
their patron as a site where
negotiations and works were
made.
There were those whose work stations were segmented into two, the studiolo and bottega; the latter
is where the work usually happened. Apprentices studied under masters, assisting with menial tasks or
the preparation of the painting surfaces. In the seventeenth century, these demarcations became lose,
eventually merging together. This was especially true with artists who explored oil painting
techniques whose long process can be described by cycles of mixing, layering, and drying of paint.
This format remained throughout the latter part of the 1800s.

The terrain in which the artist traverses in becoming increasingly complex. In the last century,
some of the roles that have been existent since the beginning of art history have been properly dealt
with – ascribed with a name – and legitimized into a sophisticated network of relationships and
exchanges. This network is what we call the art world.

Let’s reflect! (For oral recitation)

1. What art form can you most relate to and appreciate? It may be architecture, sculpture,
painting, music, literature, film, dance, performance/theater, and living traditions.
2. Name an artist whose works you really like.
3. Is there a particular work of art created by him or her that you can relate and appreciate? What is
it and why?
4. Based on what you wrote, make an assumption about what the painting means.

Let’s do it!

1. Identify and select one artist. He or she may be a Filipino or foreigner; and may be identified with any
art form: architecture, sculpture, painting, music, literature, film, dance, performance/theater, and
living traditions, among others.
 ● Research on him or her and select at least five aspects of his or her life (events,
ideas, works, awards/citations) that you think have a substantial contribution not
only to the local or foreign art scene, but also to human history.
● Print it in a long bond paper and place it in a long white folder. Attach also a picture
of the artist and artisan. Pass it during our face to face meeting.

Republic of the Philippines

BOHOL ISLAND STATE UNIVERSITY
Main Campus
C.P.G. Avenue, Tagbilaran City, Bohol 6300
Vision : A premiere S & T University for the formation of a world – class and virtuous human resource for sustainable development of Bohol and the country.
Mission : BISU is committed to provide quality higher education in the arts and sciences, as well as in the professional and technological fields; undertake research and
development, and extension services for the sustainable development of Bohol and the country.

Name: Quijada, Therese Anne A. Year and Section: BS Psychology 4-A

LESSON 5 Artist and Artistan

Vicente Manansala
(January 22, 1910 – August 22, 1981)
Vicente Silva Manansala was a Filipino
cubist painter and illustrator. One of the
first Abstractionists on the Philippine art
scene Vicente Manansala is also credited
with bridging the gap between the city and
the suburbs, between the rural and
cosmopolitan ways of life. Manansala's
paintings are the best and were celebrated as
the best of the barrio and the city together.
His Madonna of the Slums is a portrayal of a
mother and child from the countryside who
became urban shanty residents once in the city.
In his Jeepneys, Manansala combined the
elements of provincial folk culture with the
congestion issues of the city.[1]
Manansala developed transparent cubism,
wherein the "delicate tones, shapes, and
patterns of figure and environment are
masterfully superimposed". A fine example of Manansala using this "transparent and translucent"
technique is his composition, kalabaw (Carabao).
Full name: Vicente Silva Manansala
Nationality: Philippine
Period: Cubism
Award: National Artist of the Philippines
 ARTWORKS:
 Candle Vendors Vicente Manansala • 1976.
 The Bird Seller Vicente Manansala • 1976.
 Ang Magbabayo (Pounding Rice) Vicente Manansala • 1979.
 Mother and Child Vicente Manansala • 1981.
 Machinery Vicente Manansala • ?
 Luksong-Tinik (Jumping over Thorns) Vicente Manansala • 1973.

Republic of the Philippines

BOHOL ISLAND STATE UNIVERSITY
Main Campus
C.P.G. Avenue, Tagbilaran City, Bohol 6300
Vision : A premiere S & T University for the formation of a world – class and virtuous human resource for sustainable development of Bohol and the country.
Mission : BISU is committed to provide quality higher education in the arts and sciences, as well as in the professional and technological fields; undertake research and
development, and extension services for the sustainable development of Bohol and the country.

Name: Tubio, Shaira Mae C. Year and Section: BS Psychology 4-A

LESSON 5 Artist and Artistan

Leandro Locsin
(August 15, 1928 – November 15, 1994)
 was a Filipino architect, artist, and interior
designer known for his use of concrete, floating volume
and simplistic design in his various projects.
 An avid collector, he was fond of modern
painting and Chinese ceramics.
 He designed Cultural Center of the Philippines a
massive, rough concrete edifice, in the style of Brutalist
architecture, took four years to build on 21 hectares of
reclaimed land along Manila Bay.
 He designed numerous modern building, which
adopt climatic features of Southeast Asia and the
traditional style of the Philippines.
 His accomplishment contributed remarkable to
the development of architectural culture in Asia.
ARTWORKS:
 Parish of the Holy Sacrifice, University of the Philippines, Diliman, 1955.
 Ozamiz City Cathedral, 1960.
 Manila Memorial Park Chapel, Paranaque, 1965 (renovated in 1990, 1995, 2000, 2010 &
2020)
 Doña Corazon L. ...
 Church of Saint Andrew, Bel-Air Village, Makati, 1968.

Note: Ma’am napass nani during sa face to face class

nato