Juan Luna y Novicio(October 23, 1857 December 7, 1899) was aFilipinopainter, sculptor and a political activist of thePhilippine Revolutionduring the late 19th century. He became one of the first recognized Philippine artists.His winning the gold medal in the 1884 Madrid Exposition of Fine Arts, along with the silver win of fellow Filipino painterFlix Resurreccin Hidalgo, prompted a celebration which was a major highlight in the memoirs of members of thePropaganda Movement, with the fellowIlustradostoasting to the two painters' good health and to the brotherhood between Spain and the Philippines.Regarded for work done in the manner of the Spanish, Italian and French academies of his time, Luna painted literary and historical scenes, some with an underscore of political commentary. His allegorical works were inspired with classical balance, and often showed figures in theatrical poses.Early life[edit]Born in the town of Badoc,Ilocos Nortein the northern Philippines, Juan Luna was the third among the seven children of Don Joaquin Luna de San Pedro y Posadas and Doa Laureana Novicio y Ancheta. In 1861, the Luna family moved toManilaand he went toAteneo Municipal de Manilawhere he obtained hisBachelor of Artsdegree. He excelled in painting and drawing, and was influenced by his brother,Manuel Luna, who, according to Filipino patriotJos Rizal, was a better painter than Juan himself.Luna enrolled at Escuela Nautica de Manila (nowPhilippine Merchant Marine Academy) and became a sailor. He took drawing lessons under the illustrious painting teacherLorenzo GuerreroofErmita, Manila. He also enrolled in theAcademy of Fine Arts(Academia de Dibujo y Pintura) in Manila where he was influenced and taught how to draw by the Spanish artistAgustin Saez. Unfortunately, Luna's vigorous brush strokes displeased his teacher and Luna was discharged from the Academy. However, Guerrero was impressed by his skill and urged Luna to travel to Spain to further pursue his studies.Travel abroad[edit]In 1877 Manuel and Juan Luna traveled to Europe, where Manuel studied music and Juan painting. Juan entered theEscuela de Bellas Artes de San Fernando, where he befriended the painter DonAlejo Vera. Luna was discontented with the style of teaching in school and decided that it would be much better to work with Vera.Vera brought him to Rome for some of his commissions, and Luna was exposed to the art of theRenaissancepainters. It was in 1878 when his artistic talents was established with the opening of the first art exposition inMadridwhich was called theExposicin Nacional de Bellas Artes(National Demonstration of Fine Arts). From then on, Luna became engrossed in painting and produced a collection of paintings that he exhibited in the 1881 Exposition.In 1881, hisLa Muerte de Cleopatra(The Death of Cleopatra)[1][2]won him a silver medal and came in second place. Luna's growing reputation as an artist led to apensionado(pension) scholarship at 600 pesos annually through the Ayuntamiento of Manila. The condition was that he was obliged to develop a painting which captured the essence ofPhilippine historywhich would then become the Ayuntamiento's property.As an artist[edit]

Juan Luna in his Paris studio.In 1883 Luna started the painting demanded of him by theAyuntamiento. In May 1884, he shipped the largecanvasof theSpoliariumto Madrid for the year's Exposicin Nacional de Bellas Artes. He was the first recipient of the three gold medals awarded in the exhibition and Luna gained recognition among theconnoisseursandart criticspresent. On June 25, 1884, Filipino and Spanish nobles organized an event celebrating Luna's win in the exhibition. That evening, Rizal prepared a speech for his friend, addressing the two significant things of his art work, which included the glorification of genius and the grandeur of his artistic skills.Luna developed a friendly relationship with theKing of Spainand was later commissioned by the Spanish Senate to paint a large canvas which was called theLa Batalla de Lepanto(The Battle of Lepanto).[3]He moved to Paris in 1885 where he opened his own studio and befriended Hidalgo. A year after, he finished the pieceEl Pacto de Sangre(The Blood Compact)in accordance with the agreement he had with the Ayuntamiento of Manila. Depicted in this piece was theblood compactceremony between theDatu Sikatuna, one of the lords in Bohol island, and the Spanish conquistadorMiguel Lpez de Legazpi.[4]It is now displayed in theMalacaan Palace. He also sent two other paintings in addition to the one required; the second canvas sent to Manila was a portrait of Lpez de Legazpi reconstructed by Luna from his recollection of a similar portrait he saw in the hall of theCabildo, and the third was of Governor-generalRamn Blanco y Erenas.In 1887, Luna once again traveled back to Spain to enter in that year's Exposition two of his pieces, theLa Batalla de LepantoandRendicin de Granada(Surrender of Granada), which both won in the exhibition. He celebrated his triumph with his friends in Madrid withGraciano Lpez-Jaenadelivered Luna a congratulatory speech. Luna's paintings are generally described as being vigorous and dramatic. With its elements ofRomanticism, his style shows the influence ofDelacroix,Rembrandt, andDaumier.Marriage[edit]On December 8, 1886, Luna marriedMaria de la Paz Pardo de Tavera, a sister of his friend Felix andTrinidad Pardo de Tavera. The couple traveled toVeniceand Rome and settled in Paris. They had one son, whom they named Andrs, and a daughter nicknamed Bibi who died in infancy. Luna was fond of painting his wife. However, the jealous Luna frequently accused Paz of having an affair with a certainMonsieur Dussaq. Finally in a fit of jealousy, he killed his wife and mother-in-law and wounded his brother-in-law, Felix, on September 23, 1892. He was arrested and murder charges were filed against him.Luna was acquitted of charges on February 8, 1893, on grounds of temporary insanity; the "unwritten law" at the time forgave men for killing unfaithful wives.[5]He was ordered to pay thePardo de Taverasa sum of one thousand six hundred fifty one francs and eighty three cents, and an additional twenty five francs for postage, in addition to the interest of damages. Five days later, Luna went to Madrid with his brother,Antonio Luna, and his son, Andrs.Final years[edit]In 1891 Luna moved back to the Philippines and traveled to Japan in 1896, returning during the Philippine Revolution of theCry of Balintawak. Unfortunately, on September 16, 1896, he and his brotherAntonio Lunawere arrested by Spanish authorities for being involved with theKatipunanrebel army.[6]Despite his imprisonment, Luna was still able to produce a work of art which he gave to a visiting priest. He was pardoned by the Spanish courts on May 27, 1897 and was released from prison and he traveled back to Spain. In 1898, he was appointed by the executive board of the Philippine revolutionary government as a member of the Paris delegation which was working for the diplomatic recognition of theRepblica Filipina (Philippine Republic). In 1899, upon the signing of theTreaty of Paris (1898),[7]Luna was named a member of the delegation to Washington, D.C. to press for the recognition of thePhilippine government.He traveled back to the Philippines in December 1899 upon hearing of the murder of his brother Antonio by theKawit BattalioninCabanatuan. On December 7, 1899, Luna suffered aheart attackand died there. His remains were buried in Hong Kong and in 1920 were exhumed and kept in Andrs Luna's house, to be later transferred to a niche at the Crypt of theSan Agustin Churchin the Philippines. Five years later, Juan would be reinstated as a world renowned artist andPeuple et Rois, his last major work, was acclaimed the best entry to theSaint Louis World's Fairin the United States.[8]Unfortunately some of his paintings were destroyed by fire in World War II.Paintings by Juan Luna

SpoliariumPaintingThe Spoliarium is a painting by Filipino artist Juan Luna. The painting was submitted by Luna to the Exposicin Nacional de Bellas Artes in 1884 in Madrid, where it garnered the first gold medal.WikipediaArtist:Juan LunaSubject:GladiatorLocation:National Museum of the PhilippinesDimensions:4.0 m x 7.0 mCreated:1884Media:Oil paint

The Blood CompactPainting The Blood Compact is an award-winning 1886 historic and historical' painting by Filipino painter Juan Luna.WikipediaArtist:Juan LunaLocation:Malacaang PalaceDimensions:2.00 m x 3.0 mCreated:1886Genre:History paintingSubject:Datu Sikatuna

Fernando Amorsolo Fernando Cueto Amorsolo(May 30, 1892 April 24, 1972) is one of the most important artists in the history of painting in thePhilippines.[1]Amorsolo was a portraitist and painter of rural Philippine landscapes. He is popularly known for his craftsmanship and mastery in the use of light. Born inPaco, Manila, he earned a degree from the Liceo de Manila Art School in 1909.[2][3][4]Contents[hide] 1Biography 1.1Formative years 1.2Marriage and Issue 2Style and techniques 2.1Women and landscapes 2.2Sketches 2.3Historical paintings and portraits 2.4World War II-era works 3Critical evaluation 4Legacy 4.1Amorsolo paintings in the art market 5Major works 6Awards and achievements 6.1Major exhibitions 7See also 8References 9External linksBiography[edit]Formative years[edit]Fernando Amorsolo was born on May 30, 1892 in thePaconeighborhood, whenManilawas still under Spanish sovereignty, to Pedro Amorsolo, a book keeper, and Bonifacia AmorsoloneCueto. Amorsolo spent his childhood inDaet, Camarines Norte, where he studied in a public school and was tutored at home in Spanish language reading and writing. After his father's death, Amorsolo and his family moved to Manila to live with DonFabin de la Rosa, his mother's cousin and a Philippine painter. At the age of 13, Amorsolo became an apprentice to De la Rosa, who would eventually become the advocate and guide to Amorsolo's painting career. During this time, Amorsolo's mother embroidered to earn money, while Amorsolo helped by selling water color postcards to a local bookstore for tencentavoseach. Amorsolo's brother,Pablo Amorsolo, was also a painter. Amorsolo's first success as a young painter came in 1908, when his paintingLeyendo el peridicotook second place at theBazar Escolta, a contest organized by theAsociacion Internacional de Artistas. Between 1909 and 1914, Amorsolo enrolled at the Art School of the Liceo de Manila, where he earned honors for his paintings and drawings.

Antipoloby Fernando Amorsolo, depicting Filipinos celebrating a townfiesta.After graduating from the Liceo, he entered theUniversity of the Philippines' School of Fine Arts, where De la Rosa worked at the time. During college, Fernando Amorsolo's primary influences were the Spanish people court painterDiego Velzquez,John Singer Sargent,Anders Zorn,Claude Monet,Pierre-Auguste Renoir, but mostly his contemporary Spanish mastersJoaqun Sorolla BastidaandIgnacio Zuloaga. Amorsolo's most notable work as a student at the Liceo was his painting of a young man and a young woman in a garden, which won him the first prize in the art school exhibition during his graduation year.To make money during school, Amorsolo joined competitions and did illustrations for various Philippine publications, including Severino Reyes first novel in Tagalog language,Parusa ng Diyos("Punishment of God"), Iigo Ed. Regalado'sMadaling Araw("Dawn"), as well as illustrations for editions of thePasion. Amorsolo graduated with medals from the University of the Philippines in 1914.After graduating from the University of the Philippines, Amorsolo worked as adraftsmanfor the Bureau of Public Works, as a chief artist at the Pacific Commercial Company, and as a part-time instructor at the University of the Philippines (where he would work for 38 years). After three years as an instructor and commercial artist, Amorsolo was given a grant to study at theAcademia de San FernandoinMadrid, Spain by Filipino businessmanEnrique Zobelde Ayala. During his seven months in Spain, Amorsolo sketched at museums and along the streets of Madrid, experimenting with the use of light and color.Through De Ayala's grant, Amorsolo was also able to visit New York City, where he encountered postwar impressionism and cubism, which would be major influences on his work.

Fruit Pickers Harvesting Under The Mango Tree, 1939. Oil on canvas. Amorsolo demonstrating his use of "Chiaroscuro", an Italian term describing contrast between light and dark, to achieve a sense of three-dimensionality, especially in regards to the human figure.Amorsolo set up his own studio upon his return to Manila and painted prodigiously during the 1920s and the 1930s. His "Rice Planting" (1922), which appeared on posters and tourist brochures, became one of the most popular images of theCommonwealth of the Philippines. Beginning in the 1930s, Amorsolo's work was exhibited widely both in the Philippines and abroad. His bright,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 was sought after by influential Filipinos includingLuis Araneta,Antonio AranetaandJorge B. Vargas. Amorsolo also became the favourite Philippine artist of United States officials and visitors to the country. Due to his popularity, Amorsolo had to resort to photographing his works and pasted and mounted them in an album. Prospective patrons could then choose from this catalogue of his works. Amorsolo did not create exact replicas of his trademark themes; he recreated the paintings by varying some elements.His works later appeared on the cover and pages of children textbooks, in novels, in commercial designs, in cartoons and illustrations for the Philippine publications suchThe Independent,Philippine Magazine,Telembang,El Renacimiento Filipino, andExcelsior. He was the director of the University of the Philippine's College of Fine Arts from 1938 to 1952.During the 1950s until his death in 1972, Amorsolo averaged to finishing 10 paintings a month. However, during his later years, diabetes, cataracts, arthritis, headaches, dizziness and the death of two sons affected the execution of his works. Amorsolo underwent a cataract operation when he was 70 years old, a surgery that did not impede him from drawing and painting. Two months after being confined at the St. Luke's Hospital in Manila, Amorsolo died of heart failure at the age of 79 on April 24, 1972 .Four days after his death, Amorsolo was honoured as the firstNational Artist in Paintingat theCultural Center of the Philippinesby thenPresidentFerdinand Marcos.Amorsolo was a close friend of the Philippine sculptorGuillermo Tolentino, the creator of theCaloocan Citymonument to the patriotAndrs Bonifacio.Marriage and Issue[edit]During his lifetime, Amorsolo was married twice and had 14 children. In 1916, he married Salud Jorge, with whom he had six children. After Jorge's death in 1931, Amorsolo married Maria del Carmen Zaragoza, with whom he had eight children. Among her daughters are Sylvia Amorsolo Lazo and Luz Amorsolo. Five of Amorsolo's children became painters themselves.Style and techniques[edit]

Fruit Gatherer, 1950. Oil on artist's board. A specimen of Amorsolo's conception of an ideal Filipina beauty. It also depicts his mastery of realism, impressionism and the use of "Chiaroscuro".

Sketch of a woman, whose unfinished style is representative of Amorsolo's sketching.Women and landscapes[edit]Amorsolo is best known for his illuminated landscapes,[5]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.[1]He was educated in the classical tradition and aimed "to achieve his Philippine version of the Greek ideal for the human form."[6]In his paintings ofFilipina women, Amorsolo rejected Western ideals of beauty in favor of Filipino ideals[7]and was fond of basing the faces of his subjects on members of his family.[8]"[The women I paint should have] a rounded face, not of the oval type often presented to us in newspapers and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked. ... So the ideal Filipina beauty should not necessarily be white complexioned, nor of the dark brown color of the typical Malayan, but of the clear skin or fresh colored type which we often witness when we met a blushing girl."Fernando Amorsolo[7]Amorsolo used natural light in his paintings and developed thebacklightingtechnique Chiaroscuro, which became his artistic trademark and his greatest contribution to Philippine painting.[2][3][9]In a typical Amorsolo painting, figures are outlined against a characteristic glow, and intense light on one part of the canvas highlights nearby details.[3]Philippine sunlight was a constant feature of Amorsolo's work; he is believed to have painted only one rainy-day scene.[3]Sketches[edit]Amorsolo was an incessantsketchartist,[7]often drawing sketches at his home, atLuneta Park, and in the countryside.[8]He drew the people he saw around him, from farmers to city-dwellers coping with theJapanese occupation.[7]Amorsolo's impressionistic tendencies, which may be seen in his paintings as well, were at their height in his sketches.[7]His figures were not completely finished but were mere "suggestions" of the image.[7]Historical paintings and portraits[edit]Amorsolo also painted a series of historical paintings on pre-Colonial and Spanish Colonization events. Amorsolo'sMaking of thePhilippine Flag, in particular, was widely reproduced.[10]HisThe First Baptism in the Philippinesrequired numerous detailed sketches and colored studies of its elements.[10]These diverse elements were meticulously and carefully set by the artist before being transferred to the final canvas.[10]For his pre-colonial and 16th-century depiction of the Philippines, Amorsolo referred to the written accounts ofAntonio Pigafetta, other available reading materials, and visual sources.[10]He consulted with the Philippine scholars of the time, H. Pardo de Tavera andEpifanio de los Santos.[10]Amorsolo also painted oil portraits ofPresidentslike GeneralEmilio Aguinaldo, and other prominent individuals such as Don Alfredo Jacb and Doa Pura Garchitorena Toral ofCamarines Sur. He also painted the wedding picture of DonMariano Garchitorenaand Doa Caridad Pamintuan ofPampanga.He also did a portrait of AmericanSenatorWarren Grant Magnuson(19051989), of theDemocratic Partyfrom Washington, whom theWarren G. Magnuson Health Sciences Buildingat the University of Washington, and the Warren G. Magnuson Clinical Center at theNational Institutes of Healthin Bethesda,Marylandare named after.

Detail from Fernando Amorsolo's 1945Defence of a Filipina Woman's Honour, which is representative of Amorsolo's World War II-era paintings. Here, a Filipino man defends a woman, who is either his wife or daughter, from being raped by an unseen Japanese soldier. Note the Japanese military cap at the man's footWorld War II-era works[edit]After the onset of World War II, Amorsolo's typical pastoral scenes were replaced by the depictions of a war-torn nation. During the Japanese occupation of the Philippines during World War II, Amorsolo spent his days at his home near the Japanesegarrison, where he sketched war scenes from the house's windows or rooftop.[8]During the war, he documented the destruction of many landmarks in Manila and the pain, tragedy and death experienced by Filipino people, with his subjects including "women mourning their dead husbands, files of people with pushcarts and makeshift bags leaving a dark burning city tinged with red from fire and blood."[10]Amorsolo frequently portrayed the lives and suffering of Filipina women during World War II. Other World War II-era paintings by Amorsolo include a portraitin absentiaof GeneralDouglas MacArthuras well as self-portraits and paintings of Japanese occupation soldiers.[3]In 1948, Amorsolo's wartime paintings were exhibited at theMalacaang Presidential Palace.[3]Critical evaluation[edit]Amorsolo's supporters consider his portrayals of the countryside as "the true reflections of the Filipino Soul."[6]Amorsolo has been accused, however, of succumbing to commercialism and merely producing souvenir paintings for American soldiers.[6]CriticFrancisco Arcellanawrote in 1948 that Amorsolo's paintings "have nothing to say" and that they were not hard to understand because "there is nothing to understand."[6]Critics have criticized Amorsolo's portraits of Philippine Commonwealth personalities, his large, mid-career anecdotal works, and his large historical paintings.[6]Of the latter, critics have said that his "artistic temperament was simply not suited to generating the sense of dramatic tension necessary for such works."[6]Another critic, however, while noting that most of Amorsolo's estimated ten thousand works were not worthy of his talent, argues that Amorsolo's oeuvre should nonetheless judged by his best works instead of his worst.[6]Amorsolo's small landscapes, especially those of his early career, have been judged as his best works, "hold[ing] well together plastically."[6]Amorsolo may "be considered a master of the Philippine landscape as landscape, even outrankingLunaandHidalgowho also did some Philippine landscapes of the same measurements."[6]Legacy[edit]

Amorsolo's grave in Marikina CityThe volume of paintings, sketches and studies of Amorsolo is believed to have reached more than 10,000 pieces. Amorsolo was an important influence on contemporary Filipino art and artists, even beyond the so-called "Amorsolo school."[6]Amorsolo's influence can be seen in many landscape paintings by Filipino artists, including early landscape paintings by abstract painterFederico Aguilar Alcuaz.[6]In 2003, Amorsolo's children founded the Fernando C. Amorsolo Art Foundation, which is dedicated to preserving Fernando Amorsolo's legacy, promoting his style and vision, and preserving a national heritage through the conservation and promotion of his works.[11]During the post-war period, Insular Life commissioned Amorsolo to create a series of paintings of historical events for their offices (and which were subsequently used in Insular Life calendars from '50s to '80s).[1].Amorsolo paintings in the art market[edit]At a 2001 auction inWellesley, Massachusetts, two original 1950s paintings by Amorsolo,The CockfightandResting Under the Trees, were bought by a New Jersey collector for $36,000 and $31,500, respectively.[12]During a 2002 episode ofAntiques Roadshow, aSotheby's antiques appraiser estimated that an attendee's signed 1945 rural landscape painting by Amorsolo could fetch between $30,000 and $50,000 at auction.[13]At a 1996Christie'sauction, Amorsolo'sThe Marketplacewent for $174,000.[14]In April 2002,Portrait of Fernanda De Jesuswas bought for US$ 377,947.On November 30, 2009, theFamily Gathering Fruitsold for USD 77,257 at Christie's. In December 2009,Fruit Gathererwas auctioned off inMaryland, in record-breaking manner, topping 19th and 20th century European and American paintings. In May 2010, the highest priced Amorsolo painting was auctioned off at Christie's for about US$ 440,000.Major works Flix Resurreccin Hidalgo y Padilla(February 21, 1855 - March 13, 1913) was aFilipinoartist. He is acknowledged as one of the great Filipino painters of the late 19th century, and is significant inPhilippine historyfor having been an acquaintance and inspiration for members of thePhilippine reform movementwhich includedJos Rizal,Marcelo del Pilar,Mariano PonceandGraciano Lpez Jaena, although he neither involved himself directly in that movement, nor later associate himself with theFirst Philippine RepublicunderEmilio Aguinaldo.His winning the silver medal in the 1884 Madrid Exposition of Fine Arts, along with the gold win of fellow Filipino painterJuan Luna, prompted a celebration which was a major highlight in the memoirs of members of the Philippine reform movement, with Rizal toasting to the two painters' good health and citing their win as evidence that Filipinos and Spaniards were equals.Contents[hide] 1Early life and education 2Life abroad 3Paintings and Drawings 4Books 5SourcesEarly life and education[edit]Hidalgo was born in Binondo Manila on February 21, 1855. He was the third of seven children of Eduardo Resurreccin Hidalgo and Maria Barbara Padilla. He studied in the University of Santo Tomas. He studied law, which he never finished, received a bacheller en filosifia in March 1871. He was simultaneously enrolled at the Escuela de Dibujo y Pintura. In 1876, he previewed his La barcaThe Native Boat, Vendedora de lanzonesLanzones Vendorand other paintings at theTeatro Circo de Bilibidbefore they were sent to theCentennial ExpositioninPhiladelphia,Pennsylvaniaof that year. In 1878, he painted the poignant and well-crafted Los mendigosThe Beggars.Life abroad[edit]In 1877, Resurreccion Hidalgo was awarded second place in the contest for best cover design for the de luxe edition of Fr. Manuel Blanco'sFlora de Filipinas("Plants of the Philippines"). In 1879 he left for Spain as a pensionado in fine arts of the Ayuntamiento of Manila.

Las virgenes Cristianas expuestas al populacho, 1884,Metropolitan Museum of Manila.HisLas virgenes Cristianas expuestas al populacho(The Christian virgins Exposed to the Populace), was awarded the ninth silver medal at the 1884Exposicin General de Bellas ArtesinMadrid. This showed a group of boorish looking males mocking semi-naked female Christians, one of whom is seated in the foreground, with head bowed in misery. In the same exposition, Luna'sSpoliariumwas awarded a gold medal.In the Exposicin General de las Islas Filipinas in Madrid in 1887, Hidalgo presentedLa barca de Aqueronte("The Boat of Charon"),1887, andLaguna estigia("The Styx"), 1887, for which he received a gold medal.La barcawas again shown at theExposition Universellein Paris and was awarded a silver medal by an international jury. In 1891 it was accorded a diploma of honor at the Exposicin General de Bellas Artes of Barcelona. This painting also received a gold medal in the International Exposition of Fine Arts in Madrid during the commemoration of the 400th anniversary of the discovery of America.

La Barca de Aqueronte, 1887, Museo Nacional de Pintura (Madrid).He exhibitedAdios al sol("Farewell to, the Sun"), 1891 at the Exposicin Internacional de Bellas Artes in Madrid in that year andEl crepusculo("The Dawn"), 1893, at the Universal exposition in Chicago, also in that year. He showed both paintings again at the Exposicin Artistica de Bilbao in August 1894. In the Exposicin Regional de Filipinas in Manila in January 1895, Hidalgo was represented by his paintings done in the grand romantic manner. In April of the same year he exhibitedOedipus y Antigone("Oedipus and Antigone"),El violinista("The Violinist"),Cabeza napolitana("Head of a Neapolitan"),Cabeza del viejo("Head of an Old Man"),Un religioso("A Religious"), and others at the Salon at Champs-lyses, Paris.Hidalgo received a gold medal for his overall participation at the Universal Exposition in St. Louis, Missouri in 1904. HisEl violinistawas individually accorded a gold medal. In 1912, he visited his relatives in Manila for six months, after which he hurried back to Paris. His mother, who had not seen him for 30 years, wanted him to be with her in her last days but he had to leave. The following year, Resurreccin Hidalgo died atSarri, Barcelonawhere he went to recuperate from failing health. His remains were brought to Manila, where it now lies entombed in the family mausoleum at theCementerio del Norte.Paintings and Drawings[edit] Laguna Estigia Las Virgenes Cristianas Expuestas Al Populacho La Barca de Aqueronte