Carlos “Botong” Francisco

(November 4, 1912 – March 31, 1969)

Painter’s Life

Francisco was born on November 4, 1912 in Angono, Rizal. His parents were Felipe Francisco and Maria Villaluz. His hometown featured prominently in his paintings and murals, and he commemorated many rural scenes and town folk in his composition. He was affectionately called "Botong" by his family and friends.

Botong came from very humble beginnings. In the early years he struggled even to acquire canvases to paint on. Together with Galo Ocampo and Victorio C. Edades, he formed the first group of modernists in Philippine art called "The Triumvirate", which struggled to break free from the cliched traditionalism of realist art pioneered by Fernando Amorsolo. He went to college at the University of the Philippines School of Fine Arts, and before the Second World War did illustrations for The Tribune and La Vanguardia. Although he came from the same school of arts as Amorsolo, he veered away from the style of the traditional artist and developed a modernist style. Together with Victorio Edades and Fermin Sanchez, he painted for the Manila Grand Opera House and the Clover Theater. He and Edades started mural-painting, and together they formed the Thirteen Moderns, a group of modernists, in 1938.

He tried his hand at illustrating everything, even the lowly Pinoy komiks, illustrating the Tagalog classic Siete Infantes de Lara in 1948.

After the Second World War, he taught at the University of Santo Tomas School of Fine Arts at the same time that he was doing work in cinema with Manuel Conde. He worked as a scriptwriter for films such as “Genghis Khan,” “Putol na Kampilan,” and “Tatlong Labuyo.” In addition, he designed costumes for films such as “Romeo at Julieta,” “Prinsipe Tenoso,” “Ibong Adarna,” “Siete Infantes de Lara,” and the “Juan Tamad” series.

Francisco further enhanced his art in mural painting as he, together with Edades and Ocampo, was commissioned to do several murals for lobbies and private residences. They developed the Filipino imagery in their work, taking images from the customs and traditions of the people. Some of the murals they worked on as a triumvirate are Rising Philippines for the Capitol Theater, murals for the Golden Gate Exposition, the State Theater, and the private residences of President Manuel Quezon, Ernesto Rufino and Vicente Rufino. However, his major masterpiece is the mural he did for the Bulwagang Katipunan of the Manila City Hall.

After Francisco’s death on March 31, 1969, what came to be known as the Botong Francisco School of Painting grew, exemplifying lyricism and heroism.

Awards and Significant Events

  • On June 12, 1973, Carlos “Botong” Francisco was the second Filipino to receive the title of National Artist in Painting, after Fernando C. Amorsolo. He was considered one of the torchbearers of modernism in the local art scene, rebelling against the idealist-hyper-realist style popularized by Fernando Amorsolo.
  • 1948 – 1st Prize, First National Art Exhibition of the Art Association of the Philippines, for Kaingin
  • 1964 – Patnubay ng Sining at Kalinangan, from the City of Manila
  • On November 4, 1975, the town of Angono, Rizal, held an exhibit titled "Gunita Kay Botong." The event became an annual institution and was widely followed to the point that Angono became the unofficial art capital of the Philippines.
  • He was also involved in Costume Design in Philippine cinema.
  • In 1938, the three of them with Vicente Manansala and Diosdado Lorenzo formed the staff of the newly opened School of Architecture and Fine Arts of the University of Sto. Tomas.
  • The artist’s major mural was done for the 1953 International Fair held in Manila. its theme, 500 Years of Philippine History ranged from the legendary origins of the Filipino in Si Malakas at si Maganda, emerging from the primeval bamboo pecked open by a seabird, up to early years of the present Republic. It was the first Filipino painting to be featured in a full-color spread in Newsweek, an international publication. But due to lack of guidance from the authority in charge, the mural was dismantled and carelessly disposed of after the fair.
  • In 1964, he was commissioned by the City of Manila to do a set of murals for the Bulwagang Katipunan of City hall. He depicted in visual narrative the history of Manila, from the valiant rajahs of Tondo through the Spanish colonial period and the revolution, the American regime, the Japanese occupation up to the post war present- the history of the entire nation itself.

Correspondences with other artists

  • Victorio C. Edades and Galo Ocampo

-Became part of “The Triumvirate” of modern art.

-Modernist artist in the country.

Work Style

  • Belonged to the original group of modernist painters which include VIctorio Edades and Galo Ocampo, forming the pioneering triumvirate of modern art in the country.
  • He is best known for his historical epics, and one of his favorite subjects is fisherfolk. His images of women came from mythology, history, legend, customs and contemporary life.

Sample works/significant works

His masterpieces include the Malacañang mural “Fiesta”, “Code of Kalantiao (private collection), “Blood Compact” (Yuchengco Museum / RCBC Building), “First Mass at Limasawa” (National Museum), “The Martyrdom of Rizal” (Fort Santiago), “Bayanihan sa Bukid,” “Stations of the Cross” (Far Eastern University), “The Invasion of Limahong,” “Serenade,” and “Muslim Betrothal.”

His other major works include the following: Portrait of Purita, The Invasion of Limahong, Serenade, Muslim Betrothal, Blood Compact, First Mass at Limasawa, The Martyrdom of Rizal, Bayanihan, Magpupukot, Fiesta, Bayanihan sa Bukid, Sandugo, Blood Compact, First Mass at Limasawa, Portrait of Purita, The Invasion of Limahong, and Muslim Betrothal.

• 1945 – Kaingin

• 1953 – 50 Years of Philippine History, his first important mural, for the International Fair held in Manila

• 1954 – Life and Miracles of St. Dominic, for Santo Domingo Church

• 1956 – Stations of the Cross, for the Far Eastern University

• 1957 – Mangingisda

Carlos " Botong " Francisco's painting depicting a Muslim wedding is part of 100 Nudes, 100 Years exhibit to commemorate UP's centennial anniversary.Finished in 1958,this oil on canvass is part of Victor G. Puyat's collection.

The origin of the term bayanihan can be traced from a common tradition in Philippine towns where community members volunteer to help a family move to a new place. The process involves literally carrying the house to its new location. This is done by putting bamboo poles forming a strong frame to lift the stilts from the ground and carrying the whole house with the men positioned at the ends of each pole. A mural by Filipino National Artist Carlos "Botong" Francisco illustrates the process. The tradition also features a small fiesta hosted by the family to express gratitude to the volunteers.

The Best of Filipino Art:
Fiesta
Carlos V. Francisco
1947

Magpupukot (pulling in the net)

The customs and traditions held close tothe hearts of the Filipino people have become a vehicle for him andmade accessible his style to create a refreshing new imagery. Thisaffinity with historicity interested him to research on theFilipino legacy and also became apt material for him to draw from.Because his inspirations lie with the people, his works werevaluable in their nationalistic inclinations. Botong's magnificentmurals have become an icon of Filipino art history. His visualenactments celebrate the artistic roots of his culture, his imagesimpressed by the ardent dedication and colour of the Filipinopeople. This work was shown in a retrospective exhibition for the artist,Botong: Alay at Alaala, at the Cultural Center of the Philippinesin 17 November 1989 - 25 January 1990.

Untitled Planting

(Fiesta with Higantes, Angono in

Rizal Philippines)

This painting of Carlos Francisco is an important part of our national heritage because it shows the unity of the Filipino people in our unending struggle for freedom.

How does his life influence his paintings?

  • He features prominently in his paintings and murals, his hometown which is Angono and he commemorated many rural scenes and town folk in his composition.
  • He tried his hand at illustrating everything, even the lowly Pinoy komiks, illustrating the Tagalog classic Siete Infantes de Lara in 1948.
  • He developed the Filipino imagery in their work, taking images from the customs and traditions of the people.

Criticisms of Botong’s Works

Positive

According to the art historian Patrick Flores, who holds a deep respect for the genius of Botong:

“Botong had a great sense of epic, he was able to play up the turning points in history, such as struggles against the colonial forces and moving towards modern time, as he told a sprawling story of Philippine culture.”

Botong was able to create a popular visual language.

“Botong’s murals, in key locations such as government buildings and other institutions, address a public audience, frequently portraying scenes of struggle and persecution, while the subjects and characters were always dignified,” he reveals.

The most important thing to consider is that Botong didn’t aspire to be a big, important person.

“He loved his work and didn’t put on airs, which is a relevant thing to consider in this world of too much competition in the art world, or the ambition to become a national artist.”

Negative

While many of his peers attested to his kindness, courage, consideration for others, and constant contemplation around the nearby Laguna Lake, he received both good and bad publicity for the speed with which he executed his work. He was considered "lazy" by some critics of his time because he took no more than a few hours to paint, and no more than half an hour to execute designs for films. It was also said that he had the ability to see the future, which his wife Nene claims is the reason why he faced his approaching death with uncharacteristic calm. He died on March 31st, 1969, and earned the award as National Artist for Painting posthumously in 1973.

Sources:

Book: A portfolio of 60 Philipppine Art Masterpieces

First edition, first printing 1986

By: Instructional Materials Corporation Ministry of education, culture and sports

Publishing: Instructional Material Corporation, Diliman, Quezon City, 2004

Websites: