Some of his major works include Kaganapan (1953), Kiss of Judas (1955), Thirty Pieces of Silver, The Transfiguration (1979), Eternal Garden Memorial Park, UP Gateway (1967), Nine Muses (1994), UP Faculty Center, Sunburst (1994)-Peninsula Manila Hotel, the bronze figure of Teodoro M. Kalaw in front of National Library, and murals in marble at the National Heroes Shrine, Mt. He has mastered many techniques and styles, such as wood and stone carving, clay modeling and metal casting, and assemblage, among others. Napoleon Abueva is the sculptor’s sculptor.
Much of it stands proudly, almost heroically, in public places around the country, and even in the UN Headquarters in Abueva’s career spans over six decades, and he shows no sign of slowing down. Reportedly, the only sculpture in his house was a bust of José Rizal, a national hero, poet and political activist living in the 19th century – an apt reminder of the country’s centuries-long struggle for independence in a house owned by Abueva’s parents, both of whom were involved in politics.It was only later, when Abueva was a schoolboy, that he first noticed the sculptural quality of clay and began to mold it into the shape of At that point, Abueva could have realistically pursued an entirely different route, choosing a career in the Abueva’s own style is at the same time incredibly varied and instantly recognizable – many of his sculptures that now sit in public places in the Philippines and abroad convey a sense of realism with their intimately physical presence, lifelike forms and evocative gestures. He was mentored by fellow National Artist for Sculpture Guillermo Tolentino.Through scholarship grants, he was able to pursue advanced studies abroad including one from Harvard University. For these, Abueva gets his inspiration from a range of sources, including popular mythology, history and day-to-day life. Napoleon V. Abueva is known as the "Father of Modern Philippine Sculpture" and recipient of the most prestigious award, National Artist of the Philippines in 1976 in the fields of Visual Arts (sculpture). Samat, Bataan. Inherent to the piece is a seeming nod towards the work of Romanian But Abueva’s sculptures, in addition to representing his unique vision, frequently seem to serve a specific function. He was awarded National Artist of the Philippines in the field of Visual Arts. He earned his Bachelor of Fine Arts in Sculpture at the UP School of Fine Arts (now UP College of Fine Arts/UPCFA) in 1953 as one of the second batch of Fine Arts students who moved from the old campus in Padre Faura to Diliman.
His titles and distinctions are as numerous as his artworks, and as impressive as his prowess as a sculptor.But when Abueva, born on the Philippine island of Bohol in 1930, was growing up, he had little access to the art of sculpture. Indeed, perhaps his morphing styles and techniques, which span wood, metal, stone and many other media, retain their spirit of authenticity because of the artist’s fundamental The theme of motherhood, or the archetype of the mother, is present throughout his oeuvre, and serves as a good point of comparison for his varied techniques. He was the first Filipino artist to mount a one-man exhibit at the Philippine Center in New York in 1980. One of these, a bronze statuette, represents a mother kneeling, and raising her child high up above her head in a gesture of exaltation, emboldened still further by the natural shine of the material – the scene is resplendent and conveys the pride of motherhood and relationship between mother and child in all their glory.The position represented is strikingly similar to the bronze statuette of a mother holding her child above her head, but the style and form are completely different.
In an interview he once said that “the artist must possess the inner drive, passion, and Napoleon Abueva’s long and fruitful career as a sculptor has lent him the official title of the National Artist of the Napoleon Abueva, The Philippines and the Spirit of Apec, Fiberglass, 157×75 cm, Artist’s CollectionCourtesy the Metropolitan Museum of Manila and the ArtistNapoleon Abueva, Family Group, Stainless Steel, Variable Dimensions, Artist’s CollectionCourtesy the Metropolitan Museum of Manila and the artist Roughly hewn from stone, the sculpture combines straight lines (legs, arms and feet) with curves (buttocks, breasts, back), conveying a powerful voluptuousness and sensuality, both of which hint at the natural beauty of childbirth and motherhood. He was a sculptor given the distinction as the Philippines' National Artist for Sculpture. Somewhat humbly, he insists that “sculpture is actually manual labor,” and infuses much of his work with a practical purpose.
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