Life Back Ground of Vicente Manansala

He is the son of Perfecto Q. Manansala and Engracia Silva. He married Hermenegilda (Hilda)
Diaz, with whom he had one child.
Bilang isang newsboy at bootblack sa Intramuros, ipinahayag niya ang kanyang unang paglikha
ng mga kite o saranggola at paggawa ng mga sketch gamit ang uling. Sa edad na 15 he studied
under the turn-of-the-century painter Ramon Peralta habang gumagawa ng mga signboard para
sa isang painting shop. He also became part of Liwayway and Saturday Evening News magazines
years after.

Namatay siya noong Agosto 22, 1981 sa Manila, Philippines dahil sa kanser sa baga.

Contribution to Arts
Vicente Silva Manansala (January 22, 1910 - August 22, 1981) was a Philippine cubist painter
and illustrator.
Si Manansala ay ipinanganak sa Macabebe, Pampanga. Mula 1926 hanggang 1930, nag-aral siya
sa U.P. School of Fine Arts.
In 1949, Manansala received a six-month grant by UNESCO to study at the Ecole de Beaux Arts
in Banff and Montreal, Canada. In 1950, he received a nine-month scholarship to study at the
Ecole de Beaux Arts in Paris by the French government

Manansala's canvases were described as masterpieces that brought the cultures 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
Sa kanyang Jeepneys, pinagsama ni Manansala ang mga elemento ng kultura ng panlalawigan sa
lipunan na may mga isyu ng kasikipan ng lungsod.

Si Manansala ay nakabuo ng malinaw na cubism, kung saan ang "pinong mga tono, mga hugis,
at mga patterns of figure and environment are masterfully superimposed .
". A fine example of Manansala using this "transparent and translucent" technique is his
composition, Kalabaw (Carabao).

Bilang isang miyembro ng Thirteen Moderns at ang neo-realists, siya ay nasa unahan ng
modernong kilusan sa bansa.
With the issues of national culture and identity in focus after WWII his works were those of the
other early modernists which reflected the social environment and expressed the native
sensibility. Ang pangitain ni Manansala tungkol sa lungsod at ang kanyang katutubong diskarte
sa Filipino sa kanyang mga paksa ay makakaimpluwensya sa maraming mga artist na nagsagawa
ng kanyang mga katutubong tema sa loob ng konteksto ng lunsod.
Among those who show his influence are Mauro Malang Santos, with his own version of folk
romanticism in paintings which convey the fragile,

makeshift character ng 1950s, at iba pa mula sa Unibersidad ng Santo Tomas kung saan
nagtuturo si Manansala ng isang oras, tulad ng Antonio Austria, Angelito Antonio, at Mario
Parial. Tulad ng sa kanya, kanilang iginuhit ang kanilang inspirasyon mula sa mga tao, ang
kanilang mga trabaho at kaluguran. Naimpluwensiyahan niya si Manuel Baldemor, na ang mga
ugat ay nasa Paete, Laguna, pati na rin ang ilang Laguna lakeshore artist.

Ang kanyang mga gawa ay nakikilala sa kanya bilang pioneer ng malinaw na kubismo sa bansa at isa sa
prewar na "Thirteen Moderns". Si Manansala ay na-immortalized sa kanyang mga kuwadro na gawa ng
katotohanan na nakita ng isang tao na nanirahan upang makita ang mga ravages sa panahon at
pagkatapos ng Ikalawang Digmaang Pandaigdig.

When the war broke out, most of his works in his house in Intramuros were not
salvaged. He moved his family to Cavite and Pampanga. To support his family, he
worked as a fisherman and did portraits in exchange for palay or rice.

Going back to the city after the war, Manansala also painted several historical
murals including the Stations of the Cross for UP Diliman Chapel, mural for
Philippine Heart Center, and the fresco mural for the National Press Club.