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A M E R I C A N C O L O N I A L P E R I O D ( 1 8 9 8 - 1 9 4 0 ) T O T H E P O S T WA R R E P U B L I C ( 1 9 4 6 - 1 9 6 9 )


Independence was cut short due to the American colonial
government bound by treaty of Paris in 1898.
Bloody American War occurred.

Institutional governments and educational system were

Gave a strong influence on native Filipino culture.
Sedition law was issued which banned writing, printing, and
publication of materials advocating Philippine independence.
Lingua franca was English.

English language was facilitated in classroom teaching.

Stricter reinforcement of English language as compared to

Spanish language during Spanish colonial period.
Tanikalang Guinto by Juan Abad (1902)

Hindi ako Patay by Juan Matapang Cruz (1903)

Kahapon, Ngayon, Bukas by Aurelio Tolentino (1903)

A Modern Filipina by Lino Castillejo and Jesus Araullo (1915)

Vaudeville (1920s)
Some performance during this period served as a vessel for
information dissemination among rebels and guerillas through live
A new urban pattern that responded to secular goals of education,
health, and governance was imposed in the early 20th century.
Neoclassic architecture served as the basis for architectural
innovations and reformations.
-This painting simply tells us the
Filipino experience from the fields
of labor. It directly identifies the
subject in the painting. It is a link of
interpretation of Filipino life with
the process of self-discovery and
Planting Rice by Fabian de la Rosa
-This realistic painting pictures a
musical gathering or song concert in the
afternoon hours. It is an interior scene,
sets in the spacious and carpeted sala of
an ilustrado house. Numerous human
figures are in formal wear but, the focus
of the details is a female singer standing
beside the piano as she is singing a
"kundiman" to the accompaniment of a
El Kundiman by Fabian de la Rosa male pianist. The audience are
(1930) preoccupied in appreciation to the
music they are listening to. The features
those who belong to the period's elite as
conveys by the details in this painting
on canvas.
The Builders by Victorio Edades
"The Builders" (1928) is one of Victorio Edades' major works that he
exhibited in 1928 during his one-man show. Edades executed this upon his
return to the Philippines from studies in the United States. In his campaign
for modernism, this is one of his paintings that shows his enhanced
knowledge and skill in modern art. This artwork emphasized linear and
structural composition above other pictorial elements, conveying the
essence of men engaged in labor through the contortion of the bodies.
“Filipino Struggles through
History” chronicles the history
of Manila from the first great
Rajahs of Tondo, the Spanish
colonial period, Balagtas, Rizal
and the Revolution of 1896,
up to the American colonial
period which becomes the
history of the entire nation

Filipino Struggles Through History by

Carlos “Btong” V. Francisco (1964)
-It is one of the works of Galo B.
Ocampo that succeeded in fulfilling
Ocampo's aim to create a new Filipino
identity by freeing Filipino art from the
colonialism of religious imagery. Here,
Ocampo deviates from the traditional
colonial iconography which gave a
European cast to the holy figures. He
represents a Madonna and child as
Filipino, with the brown complexion and
features that distinguish the Filipino. The
figure representing Mary is in [[Baro't
Brown Madonna by Galo Saya], a traditional Filipino costume. The
Ocampo (1938) bamboo, the mountains with rice terraces
in the background, and the thatched hut
just behind the mother and child are other
Philippine elements present in this
A collaborative work of Edades,
Francisco, and Ocampo that
survives to this day is Nature’s
Bounty, which portrays a group of
women harvesting fruits in a field.
At the center of the painting is a
papaya tree and heavenly beings
hovering from above. In this
paiting, we can discern how the
artist integrated folk subject matter
with a style that draws modern art.
Nature’s Bounty (1935)
The naked figure of a young man in a
symbolic gesture of sacrificial
offering of service to country and
humanity has become a landmark in
every campus of the University. For
the hundreds of thousands of UP
Alumni, the Oblation has become
their major symbolic link with Alma
Mater. The Oblation is also the major
rallying point for all kinds of dissent,
protest actions, and social criticism,
Oblation by Guillermo Tolentino as well as expressions of public
(1935) service, nationalism, and patriotism.
For the autonomous units and all the
campuses of the University of the
Philippines, the Oblation is the
enduring symbol of their unity in
mission, vision and traditions.
The monument commemorates the most
proletarian of all Filipino heroes, Andres
Bonifacio. The monument likewise marks
the first encounter between Andres
Bonifacio and his revolutionary group
called Katipunan with the Spanish soldiers
on August 3, 1896. The monument was
immortalized by the great Filipino national
artist Guillermo(Botong)Tolentino in 1933
together with Guillermo Masangkay, one of
Bonifacio's generals adapting the facing of
Bonifacio's Statue towards his birthplace in
Bonifacio Monument by Tondo, Manila, which is situated on the
Guillermo Tolentino south of Caloocan.
Thank You!