A Review on Santiago Albano Pilar’s Juan Luna: The Filipino as a Painter for Art Stud 202
Santiago Albano Pilar somehow narrated Juan Luna’s life like he was of close acquaintance with the artist even though their existence were years apart. He put himself in the shoes of a man that lived in the time of social, cultural, and political revolution. Opening his book by laying out the situation and reputation of the Filipinos in the international scene before the time of Juan Luna rationalized the artist’s disposition that resulted in his achievements in different stages of his life. And with every stage, we are presented with a different side of the artist.
He was able to utilize different resources such as the artworks produced by Luna, photographs, historical accounts, and even letters give to and from the artist. This helps paint Juan Luna in a realistic image of a human being. One that is full of passion that ultimately caused his demise in regards to his domestic life. In a connoisseurship aspect, Pilar really examined each artwork and identified Luna’s steadfast, forceful, and electrifying spirit that was conveyed through his masterful brushwork and color harmonies.
Combining all his resources, observations, and his own perspective on different situations, Pilar was able to stitch together this entertaining narrative of Juan Luna’s life. From phases of passion and struggle to well-deserved fame and fortune to the complications of domestic life and his search for peace, Juan Luna became a more realistic person rather than how he is depicted mythically in history books. In our early years in school, we were often introduced to Juan Luna as a famed National Artist who produced the iconic Spoliarium. Our grade school or high school teachers make little to no mention of the details of his achievements, or what schools of thought does he subscribe to, or that he has a tendency to act out on his temper, or that he caused the death of his wife. Given that we might be too young to even understand if ever they did give out that information, this narration by Pilar is an essential read for people who seek to understand Juan Luna.
However, just like in most historical research, he is limited to the available resources. As mentioned in parts of the book, some key artworks and letters were destroyed over time either because it was destroyed or lost in circulation. The accuracy of some key testimonies may also be questioned since it has been passed down for generations. Nevertheless, Pilar went over and beyond these limitations in order to connect these bits of information.
Truly, the Filipino painter was the first to establish a significant presence in the international scene. Juan Luna is one of these Filipino painters that proved to be just as talented, or even better than his international colleagues, even though this is stained because of his court trial wherein he used the stereotypes that defied him to absolve himself of his crime. Beyond the celebration and lamentation of Juan Luna’s life, we can identify the spirit of the Filipino as a painter. Philippine Art, is after all, not confined within its form but rather within the spirit of the artwork. And with this, Pilar sparks the spirit of nationalism within the Filipino.
Reference:
Pilar, Santiago A. 1980. Juan Luna: The Filipino as Painter. Pasig: Eugenio Lopez Foundation.