Vicente Manansala

1951

“Jeepneys”

Enamel on fireboard

51 cm x 59 cm

Vicente Silva Manansala was born on January 22, 1910 in Macabebe, Pampanga (Vicente Silva Manansala, n.d.). As a child, he grew up and worked as a newsboy in Intramuros. He expressed his early creativity developing kites and charcoal sketches. At 15, he studied under a famous painter named Ramon Peralta and balanced his studies while creating signboards for a painting shop. From the years 1926 to 1930, he studied at the UP School of Fine Arts in Diliman (Vicente Manansala, n.d.). By 1949, Manansala received a six-month grant by UNESCO to study at the Ecole de Beaux Arts in Banff and Montreal, Canada. By 1950, he received a nine – month scholarship to study at the Ecole de Beaux Arts in Paris by the French government. There, he was under the mentorship of Ferdinand Leger. He got more exposed to art and financial grants were given to him to study in other countries, like Germany, Switzerland and USA to name a few.

As a member of the “Thirteen Moderns” and part of the neo-realists, he was at the forefront of the modernist movement in the country (Vicente Manansala, 2012). With the issues on national culture and identity clear and apparent after WWII, his works were those of the other early modernists, which reflected the social environment and expressed the native sensibility. After his studies abroad and influenced by foreign art movements, Manansala eventually developed his different approach to traditional cubism. Unlike the traditional and common version of cubism at the time, transparent cubism is not overly distorted, twisted nor misleading (Gotchev, Chalcraft, et. al, 2016). This means that Manansala’s art works stayed close to the figure which he simplified to its basic geometric shape. His canvases also employed repetition of shape and form to depict everyday iconic moments of life in the city and the slums, and the intrinsic connection between members of family and society. From as early as 1941, Vicente’s artworks were already winning awards and accolades. One of his known artworks was his painting entitled “Jeepneys”.

Manansala’s Jeepneys was created in 1951 with enamel on fireboard. The painting was gifted by Fernando Zobel, a Filipino-Spanish businessman, painter and art collector, to Arete: the Ateneo Art Gallery. It is a roughly large painting measuring 51 cm x 59 cm (Jeepneys, 2020). From the mere title alone, a Filipino can see his/her own tradition and culture embedded in the painting. Jeepneys are a Filipino creation – an expression of the country’s art. They are characterized with vibrant colors, unique paintings and festive decorations. It is likely inspired by the fiestas held in the Philippines. The Jeepneys also serve as an affordable transportation service to work, school, home, or any other place to the millions of ordinary Filipinos. They stop, pick – up and drop off passengers along its route.

Looking at the painting itself, it contains actual lines because these straight and curved lines are visibly apparent. These thin meandering lines are mainly horizontal and vertical. The brush strokes applied in the painting also seem to be freestyle and paint application in the artwork seems to be highly textured. The artist made use of actual geometric shapes, such as squares, rectangles and circles, and the constantly changing and overlapping of planes.

As for space, the painting is completely filled with a variety of shapes and all sorts of objects. This makes the painting mainly filled with positive space and almost no negative space is apparent in the painting. Heavier paint is applied at the right side of the work as compared to the left side. In terms of perspective, the objects and shapes at the bottom are more visible and clearer as compared to those at the top. It is apparent that clarity seems to diminish as one moves from bottom to top. Smaller objects at the top seems to appear further away as compared to those bigger objects at the bottom which appear nearer to the viewer’s perspective. Those smaller objects that are farther have lesser detail as compared to those bigger objects. Also, the shapes and objects cover one another which gives an illusion that makes one appear in front of the other.

As for value, the painting visibly makes use of a chromatic value. Predominantly, the artwork features a variation of the different shades of yellow. The red color contrasts its surroundings and can possibly signify danger or a warning (Fosmire, n.d.). In addition, enamel painting was used in the creation of the landscape portrait, which made it seem to have a glossy finish. Manansala made use of a landscape orientation on his painting since it better aids in the narration of a story or idea as compared to a portrait orientation. This orientation also better depicts the clarity of the lines and colors of the painting.

As for the size, it can be considered as a large painting. Manansala made his painting large in order to clearly depict the patterns and objects to the common audience. All of these bring out a larger rhythm and new imagery on the daily congestion in the city. It also helps in bringing out a new sense of “nationalistic” emotion to its audience since it shows the unsung and concerning reality and situation of the country.

Among all the art works seen in the Ateneo gallery website, I chose this artwork because it holds the most value to me as a person. It showcases the history of our country through the depiction of jeepneys, but it also deeply resembles the problematic situation in the present day. This sparked much concern and pondering in me. When analyzed and viewed as a whole, the painting is composed of a variety of shapes and objects such as people and vehicles (jeepneys and tricycles). The street appears to be very congested due to a surplus of jeepneys and a bit of motorcycles in the road which gives the ordinary people little to no less space to operate and walk around. The people in the art work seems to be disappointed with the traffic congestion situation in the area. In addition, due to the objects filling out the entire area, it gives off the idea to its audience that the street/road seems to be too narrow and unprepared for the influx of numerous vehicles that pass by the area. It also seemed as if these people, from other parts of the nearby areas or provinces, came to the city due to what the city can offer and host to the people thus causing the large influx of vehicles and population in the area. It is deeply concerning that the jeepneys used to be a symbol for the unique transportation of the country but now it has become a constant image that is inevitably related to the worsening traffic situation in the Philippines.

The jeepneys are more than just transportation vehicles and works of art, but a demonstration of nation-building as well. The jeepneys bring all sorts of people together. A jeepney’s capacity is usually stretched, like rubber, where people try to fit in the vehicle. It is also collective in a sense that different people pass each other’s fare to the driver or the collector. Everyone does “para” to signify that they have arrived in their destination in the route. Some families even let their children sit on their laps in order for other people to fit in. It is also a ritual in a sense that people are near to one another and the individualistic mindset isn’t allowed in the vehicle. It is a no brainer that there is a huge economic divide between the rich and the poor in the Philippines. There are millions of Filipinos below the poverty line and income inequality is very apparent in industries. However, in its own distinct way, the jeepney helps in lessening the divide and unites us in the value of being Filipino which is present in each one of us.

Without question, art has the power to transform the world. It reflects our dynamic culture and has the ability to challenge society’s values. Manansala’s painting is no exception. It has effectively conveyed its part on how social realities in the country is depicted. It helps bring meaning into Filipino lives and helps preserve the country’s tradition, culture and identity. Manansala’s “Jeepneys” has come a long way and Art has too. I only wish now that others would appreciate it as much as I do. Who knows what other aspects of Art and Manansala’s “Jeepneys” could do for the country and the rest of the world?

Sources:

Ed Fosmire, S. A. (n.d.). Introduction to Art Concepts. Retrieved from https://courses.lumenlearning.com/atd-sac-artappreciation/chapter/oer-1-9/

Gotchev, A., Chalcraft, A., Williams, P. D., & Haacke, J. (2016, September 25). What are the basic concepts of neorealism? Retrieved from https://www.researchgate.net/post/What_are_the_basic_concepts_of_neorealism

Jeepneys. (2020, June 03). Retrieved from https://ateneoartgallery.com/collections/jeepneys

Vicente Manansala. (n.d.). Retrieved from https://www.widewalls.ch/artists/vicente-manansala

Vicente Silva Manansala. (n.d.). Retrieved from http://www.artnet.com/artists/vicente-silva-manansala/

Ü, A. S. (2012, November 29). Vicente Manansala. Retrieved from https://www.slideshare.net/lumaosing/vicente-manansala-15418654#:~:text=Vicente Silva Manansala (January 22,Philippine cubist painter and illustrator.&text=Manansala was born in Macabebe,he studied at the U.P.&text=In 1949, Manansala received a,in Banff and Montreal, Canada.