Transfiguration Parish at Sinunuc

A Day at the National Museum

To me, a more honest and appropriate version of the Philippine history by Vicente Manansala
In contrast, Botong Francisco's depiction of Philippine history

Sibugay's Saudi Ahmad's masterpiece
Juan Luna's Bulakenya
I can feel her sorrow
A National treasure, a "gift" by the Spanish government at the time of Elpidio Quirino's presidency. The masterpiece which started it all

The lobby adorned by Impy's chandelier
A Philippine "icon"
Manunungul Jar
Phillip Morris 2008 finalist
A contemporary painting. another Philip Morris 2008 finalist

The Museum of the Filipino People

Dear friends,
If you haven't been on a tour of the National Museum, well, here's your chance. You'll be pleasantly surprised at how beautiful the museums are (the former Finance Building and the former Legislative Building) with its extensive renovation inside yet keeping with its neo-Federal Style architecture outside.

There's fifteen galleries in the Museum of the Filipino people (formerly Finance) to explore our archaeological past and our anthropological present. The highlight is of course four galleries devoted to the 1994 recovery of the Spanish galleon San Diego. It's treasures give insights to the incredible 300 year trade that linked us to the Americas. We’ll also see the current temporary exhibits in the museum.

The former Legislative Building, now the National Gallery of Art, will be another formidable encounter as we journey through 200 years of Filipino arts and sculpture in seven galleries. The most spectacular sight is the gigantic and original rendering The Spoliarium by Juan Luna. We pause here to appreciate and learn how this masterpiece inspired our brave band of Filipino students in Madrid, including Jose Rizal, to alter their lives and helped in the formation of our nation.

John L. Silva has been Senior Consultant of the National Museum for close to ten years and has the most incredible stories and insights about the collection. He teaches arts education in an interesting and humorous manner and delights and inspires his audience to be proud of their culture and history.

Proceeds from the fees (700 pesos for adults, and 500 pesos for children up to 18 years) will go to John's I LOVE MUSEUM PROGRAM, which brings public school teachers to the National Museum and to their local museums, taught the importance of arts appreciation and transmit that information to their students. Studies show that an arts educated child raises their academic achievements, promotes love of reading, and makes them better citizens.

The tours are three hours in duration, and begins at 10:00 am sharp (ending at 1:00 pm) at the rear entrance of the Museum of the Filipino People, (former Finance Building) Agrifina Circle, Rizal Park. Attendees are requested to wear walking shoes (please no heels) and reservations are strongly encouraged by texting or calling John Silva at 0926 729 9029. The tours will be May 17, 18, and 24, and June 7, 11, 21 and 25.

Mr. John Silva

Note: I visited the museum last Sunday at 10 am-1 pm, and it was indeed an experience i'll never forget. Its like travelling thru time and going back to the past. This is one activity which i have missed as a growing child. Thank you so much Mr. John Silva.

Mindanao's Mona Lisa

one of Tausug visual artist, Rameer Tawasil's masterpieces

The Winner from Zamboanga

Mother
96 x 69 inches

Woman in the gallery
60 x 48 inches

Girl

Untitled
72 1/8 x 62 ¾ inches

Winner Jumalon's Statement:
My art is survival. To date, three spaces define my
art—Zamboanga, my hometown; Laguna where I spent
four years in scholarship in a secondary school; and
Metro Manila, where I’m currently studying fine arts in
a university. Having to uproot myself twice and grow
up thrice all over again has affected my instincts and
aesthetics.
Back in Zamboanga, I painted mostly colorful pictures
of myself at play using circular patterns. The images
were whimsical, carefree. My paintings in Laguna, on
the other hand, were done in subdued earth colors. I
was then living in a mountain where my alma mater
stands, learning the rigors of the academic art world.
Lost, I was groping for an identity, painting selfportraits.
It was then that I started using a layering
technique, drawing faces over faces, an observation
perhaps, watching fellow students with different
personalities go under guises just to establish that
harmony. Currently, I’m living alone, playing with wide spaces
and abstract figures—graffiti, black scratches on white
background. I see stark black and white—anonymous,
animosity, bare—my perception of urbanity. These
images, random and varied, are my companion in my
necessary evolution to fit in and endure.