CODE - 725

(December 23, 1895 – March 7, 1985) was a Filipino painter. He led the revolutionary Thirteen Moderns, who engaged their classical compatriots in heated debate over the nature and function of art. He was named a National Artist in 1976.History names Victorio Edades as “the father” of Modern Philippine art. Schooled in the US upon his return he introduced an entirely new way of thinking about art. He argued that art can be more than representation of reality, it can be representation of reality as seen through the mind and emotions of the artist. 

Victorio Edades was born on December 23, 1895, to Hilario and Cecilia Edades. He was the youngest of ten children (six of whom died of smallpox). He grew up in Barrio Bolosan in Dagupan, Pangasinan. His artistic ability surfaced during his early years. By seventh grade, his teachers were so impressed with him that he was dubbed "apprentice teacher" in his art class. He was also an achiever from the very beginning, having won awards in school debates and writing competitions. 

After high school, Edades and his friends traveled to the United States. Before enrolling in Seattle, Edades incidentally made a detour to Alaska and experienced working in a couple of factories. Nonetheless, he moved on to Seattle and enrolled at the University of Washington where he took up architecture and later earned a Master of Fine Arts in Painting. The significant event that stirred Edades, and made him as what he is known now, was his encounter with the traveling exhibition from the New York Armory Hall. This art show presented modern European artists such as Cézanne, Gauguin, Matisse, Picasso and the Surrealists. His growing appreciation to what he saw veered him away from the conservative academic art and Realistic schools and thus he began to paint in the modern manner. The two former schools of thought were inclined more towards idyllic subject matter, and require a mastery of refined detailing. What attracted Edades to the modernist movement was its principle to go beyond the idealistic exteriors propagated by Impressionism and Realism. Modernist thought encourages experimentation in artistic expression and allows the artist to present reality as he sees it in his own way.

During his journey to America, he participated in art competitions, one of which was the Annual Exhibition of North American Artists. His entry The Sketch (1927) won second prize. When he returned to the Philippines in 1928, he saw that the state of art was "practically dead." Paintings he saw dealt with similar themes and were done in a limited technique that mostly followed the works of Fernando Amorsolo, the first Philippine national artist and the most popular painter of the time. He recognized that there was no creativity whatsoever, and that the artists of that time were merely "copying" each other. So in December, Edades bravely mounted a one-man show at the Philippine Columbia Club in Ermita to introduce to the masses what his modern art was all about. He showed thirty paintings, including those that won acclaim in America. It was a distinguished exhibit, for the Filipino art circle was suddenly shaken by what this young man from Pangasinan had learned from his studies abroad. Viewers and critics were apparently shocked and not one painting was sold.

Edades helped organized the University of Santo Tomas (UST) Department of Architecture in 1930 and was its acting head. In 1935, he was appointed as Director of the UST College of Architecture and Fine Arts, which he organized under the wing of Architecture. He was guided by the existing American curricula when he made the Fi Painting. On February 12, 1977, UST conferred on Edades the degree of Doctor of Fine Arts, Honoris Causa.

(born 16 September 1949)  Imelda Cajipe-Endaya is a Filipino printmaker, painter, mixed-media, and installation artist, curator and art project organiser. She is also an author of various texts and books, as well as the co-founder of Kasibulan, an artist collective in the Philippines. 

Cajipe-Endaya was born in Manila, Philippines.[1] Her father, Dr. Pedro M. Cajipe was a survivor of the Bataan Death March, while her mother Felipa Baisas (a daughter of Francisco E. Baisas), was a pharmacist and chemistry teacher.[2] Cajipe-Endaya's work emerged from the period of ferment during the 1960s and 1970s in the Philippines. It was a period characterized by the socio-political upheaval and awakening in response to the declaration of martial law in the Philippines and as a result of the Vietnam war and a succession of economic crises.[3] This can be seen to have greatly influenced both her art and her involvement in the women's and people's liberation movements in the Philippines. 

She attended the University of the Philippines College of Fine Arts in Quezon City, Philippines where she earned a bachelor's degree in Advertising Art in 1970 and studied Art History and Criticism in 1976-77. In 1976 she produced a series of prints related to contemporary identity in the Philippines, which she named "Ninuno". After graduating, she was involved mainly in the production of calligraphy and etching, influenced by artists such as Benedicto Cabrera and Ofelia Gelvezon-Tequi. In 1979 she was awarded the gold medal in printmaking from the Art Association of the Philippines in 1979. She began oil painting in 1981. Two years later she produced a painting named "Pasyong Bayan" ( A Nation's Passion), which she describes as expressing the "people’s rage against the human-rights violations perpetrated by a dictatorial regime that resulted in the loss of our democratic freedoms". 

After her studies, Cajipe-Endaya had a part-time job as an archival researcher and writer while starting a family. Her print exhibition in 1979 earned her critical acclaim. In 1980, Imelda Cajipe-Endaya was rated one of the best ten printmakers by a panel of critics. In 1987 she co-founded "Kasibulan", a women artists' collective, and served as its first president. She exhibited in the Philippines and abroad, curating major exhibitions of her own, and leading innovative initiatives as an organizer, cultural worker and writer. In the 1990s, Cajipe-Endaya began working in acrylic, and received a number of awards including the special award from the Cheju Korea pre-Biennale in 1995, the Araw ng Maynila Award for Painting in 1998 and RP Centennial Honors for the Arts in 1999. From 2005 to 2009 she lived in the United States with her husband Simplicio, an economist and project consultant.[1] She was a recipient of the Orange County Arts Federation of New York award in 2005 and 2006 and the American Society of Contemporary Artists (Asca) award in New York City in 2009. In 2017 she produced a large mural entitled "Upheaval", which she describes as "necessary in liberating the people from current social ills" and as a sort of self-transformation.[1]

Cajipe-Endaya has also published a number of books. In January 2016, the book "Alter/(n)ations: The Art of Imelda Cajipe Endaya", a compilation of articles by six important women in her life and their perspectives and desire for female equality was released.

Bio from Wikipedia

NOËLL EL FAROL is the President of the Philippine Association of Printmakers. He has M.A in Archaeology from The University of the Philippines and a diploma in Art Education, from Shizuoka University, Japan. Farol also has a MS in Advertising, University of Santo Tomas, Manila, and a BFA, College of Music and Fine Arts, The Philippine Women’s University. His recent exhibitions include 2013 "Fleet", Art Informal, Greenhills, Mandaluyong City, Philippines (2013); "Free Falling Bodies", Bliss on Bliss Art Projects, New York, USA (2013); and “Codicology”, One Workshop, LRI Design Plaza, Makati City, Philippines (2012). Other recent activities have included Mudanjiang International Sculpture Festival, Heilongjiang, People’s Republic of China (2012); the International Sculpture Symposium in Ninh Thuan Province, Vietnam (2011); and Glass and Ceramics in the 21st Century, Seto City Gallery, Aichi-Ken, Japan, (2011). In 2009 he received the Metrobank Foundation Prize Achievement Award in Sculpture. 

Bio from SGC International Conference