This proposition is reformulated from the statement of goals of Kababaihan sa Sining at Bagong Sibol na Kamalayan (KASIBULAN), the first Filipino feminist arts organization founded by contemporary women visual artists. This essay not only fills a significant gap in the scholarship on Zobel but also hopes to reframe our understanding of modern art in the Philippines.Ī rich resource of visual arts by Filipino women can be historically viewed within a Filipino feminist framework: 1) Her art results from a struggle to empower and transform herself through her art-making 2) Her art's distinct visual idiom and symbols are grounded on woman's personal, social and historical contexts, thereby expressing a female collective consciousness 3) Her art contributes a distinct, whether positive or critical, point of view in creation and perception towards the development of women for a culture of peace, environmental harmony, justice, and productivity of a nation 4) Her art has either perfected a tradition or has originated symbols and expressions of women's condition, aspirations or transformation 5) Her art-making reflects a position for the protection and propagation of crafts and other productive activities that are traditional domain of women. Moreover, I will argue that Zobel may be considered as a decolonizing voice, a touchstone in postcolonial Filipino art criticism. In particular, I will argue that an understanding of Zobel and his influence must consider the mutual emergence of modern art and postcolonial statehood, events that cannot be dissociated from utopian sentiments defining the historical project of decolonization in the middle of the twentieth century. With the exception of a handful of articles, not much art historical discussion of Zobel exists, especially in the context of the rise of Filipino modern art and the development of Philippine postcolonial state as utopian phenomena. Art histories in the Philippines and Spain are certainly unimaginable without Zobel, yet very little has been written about him. Six years later, he established the Museum of Spanish Abstract Art in Cuenca, Spain. An award-winning artist and an astute theorist, he founded the Ateneo Art Gallery in 1960. Fernando Zobel de Ayala y Montojo is a towering figure in modern Filipino art and criticism.
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