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Guillermo Tolentino: National Disciple of Art: Difference between revisions
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Guillermo Tolentino: National Disciple of Art (view source)
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While studying, he supported himself by working for various marmolerias in Manila. In 1914, he made his first important work for Architect Juan Arellano. The figure is that of a woman praying against a cross for the tomb of the Palma family in Cementerio del Norte. The same year, he completed the relief figures conceived by Arellano for the Taft Avenue exterior of Casino Espanol. | While studying, he supported himself by working for various marmolerias in Manila. In 1914, he made his first important work for Architect Juan Arellano. The figure is that of a woman praying against a cross for the tomb of the Palma family in Cementerio del Norte. The same year, he completed the relief figures conceived by Arellano for the Taft Avenue exterior of Casino Espanol. | ||
He studied and graduated from the School of Fine Arts in 1915 with a degree in painting and sculpture. However, | He studied and graduated from the School of Fine Arts in 1915 with a degree in painting and sculpture. However, he chose to stay for an additional year. He created the San Miguel de Mayumo monument during this period to symbolize the Biak na Bato Pact. Juan Arellano designed it. | ||
Tolentino lived primarily in Laguna in 1918. He collaborated with builder Tomas Zamora to create monuments honoring Rizal, a mausoleum, and other structures. Precioso Palma, one of his pals, encouraged him to start his store. They even made him an offer of money so he could. Tolentino declined to accept. He replied, "Because I was not yet a sculptor," when asked why (Paras-Perez, 1972). | Tolentino lived primarily in Laguna in 1918. He collaborated with builder Tomas Zamora to create monuments honoring Rizal, a mausoleum, and other structures. Precioso Palma, one of his pals, encouraged him to start his store. They even made him an offer of money so he could. Tolentino declined to accept. He replied, "Because I was not yet a sculptor," when asked why (Paras-Perez, 1972). | ||
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In 1930, Tolentino entered a competition to design the Bonifacio Monument alongside thirteen other painters. He spoke with participants in the Philippine Revolution to obtain information for the monuments rather than basing them on written sources. The bone structure of Espiridiona Bonifacio, the Supremo's surviving sister, served as the model for Bonifacio's figure. By July 29, the committee had narrowed its selection to seven entries. Tolentino's entry took first place, earning him 3,000 pesos in cash. | In 1930, Tolentino entered a competition to design the Bonifacio Monument alongside thirteen other painters. He spoke with participants in the Philippine Revolution to obtain information for the monuments rather than basing them on written sources. The bone structure of Espiridiona Bonifacio, the Supremo's surviving sister, served as the model for Bonifacio's figure. By July 29, the committee had narrowed its selection to seven entries. Tolentino's entry took first place, earning him 3,000 pesos in cash. | ||
A jury tasked with choosing the best design to honor the Katipunan Supremo convened on August 9, 1930. | A jury tasked with choosing the best design to honor the Katipunan Supremo convened on August 9, 1930. When entering the designs, he used pseudonyms. The winning entry was submitted by Tolentino using the pseudonym Batang Elias. He won the design contest and received a commission to install the Bonifacio Monument. In 1932, he finished the monument's figures. He sent the figures to be cast in bronze in Italy. He ended the Bonifacio Monument in 1933. | ||
[[File:The Oblation.webp|250px|right]] | [[File:The Oblation.webp|250px|right]] | ||
Approximately concurrently with his work on the Bonifacio Monument, Tolentino completed the Oblation. He combined the bulky build of his assistant and sculptor Anastacio Caedo with the stature and dimensions of Caedo's brother-in-law, Virgilio Raymundo, to create the Oblation. | Approximately concurrently with his work on the Bonifacio Monument, Tolentino completed the Oblation. He combined the bulky build of his assistant and sculptor Anastacio Caedo with the stature and dimensions of Caedo's brother-in-law, Virgilio Raymundo, to create the Oblation. | ||
Rafael Palma, President of the UP, ordered the memorial. The Oblation was first displayed at the Padre Faura Quadrangle at U.P. in 1935. Madrid. Later on, was moved to Uttar Pradesh. 1949 saw Diliman. In the U.P. Today, the Oblation represents academic independence. | Rafael Palma, President of the UP, ordered the memorial. The Oblation was first displayed at the Padre Faura Quadrangle at U.P. in 1935. Madrid. Later on, he was moved to Uttar Pradesh. 1949 saw Diliman. In the U.P. Today, the Oblation represents academic independence. | ||
October 25, 1935: The U.P. The Alumni Association intended to build an arch to remember the Commonwealth of the Philippines' founding. They asked Tolentino to get the maquette and design ready. | October 25, 1935: The U.P. The Alumni Association intended to build an arch to remember the Commonwealth of the Philippines' founding. They asked Tolentino to get the maquette and design ready. | ||
The time it took Tolentino to create a maquette was short. The National Assembly and President Quezon gave their approval to the design. The monument was estimated to have cost around Php 500,000. Despite a lack of funding, Mrs. Aurora Quezon placed the first trowel full of cement on the monument's foundation on November 15, 1938. | The time it took Tolentino to create a maquette was short. The National Assembly and President Quezon gave their approval to the design. The monument was estimated to have cost around Php 500,000. Despite a lack of funding, Mrs. Aurora Quezon placed the first trowel full of cement on the monument's foundation on November 15, 1938. They intended to erect the Commonwealth Triumphal Arch in front of the Legislative Building at the intersection of Taft Avenue and Padre Burgos. Sadly, the war intervened, and they never constructed the triumphal arch. | ||
In the absence of Fernando Amorsolo, Tolentino was named Acting Director of the School of Fine Arts on July 23, 1951. In August 1953, on August 4, he got the position of Director. | In the absence of Fernando Amorsolo, Tolentino was named Acting Director of the School of Fine Arts on July 23, 1951. In August 1953, on August 4, he got the position of Director. | ||