Pandy Aviado Published by Ayala Foundation, Inc. 8/F 111 Paseo de Roxas building 1226 Makati City, Philippines Tel (632) 752-1101 to 02 In conjunction with the exhibition GRAVEN IMAGES

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Published byAyala Foundation, Inc.8/F 111 Paseo de Roxas building1226 Makati City, PhilippinesTel (632) 752-1101 to 02

In conjunction with the exhibition

GRAVEN IMAGES : 1964 - 2014Pandy AviadoFifty Years of Printmaking

Ground Floor Gallery, Ayala MuseumNovember 24, 2014 - July 11, 2015©2014 Ayala Foundation, Inc.

All rights reserved. No part of this publication may be reproduced or used in any form or by any means,whether graphic, electronic, or mechanical-including photocopying, recording, taping or through otherdigitized information storage and retrieval systems without written permission of the publishers.

Ma. Elizabeth “Mariles” L. Gustilo, Director, Ayala MuseumFelicia Marie L. De Vera , Executive Assistant, Office of the Museum Director

Kenneth C. Esguerra, Senior Curator and Head of ConservationDitas R. Samson, Senior Curator and Head, Museum Research and PublicationsAprille P. Tijam, Senior Manager, Exhibitions and CollectionsMarinella Andrea C. Mina, Associate Manager, CollectionsJo Ann Bereber-Gando, Associate Manager, Graphic DesignRoland E. Cruz, Associate Manager, Exhibition DesignArnold T. Torrecampo, Senior Exhibitions and Conservation AssociateMarie Julienne B. Ente, Senior Marketing AssociateAlezza Marie V. Buenviaje, Graphic DesignerVerne Alexander V. Ahyong , Writer and ResearcherJaime S. Martinez, Photographer

Photographs on pages 4 and 7 by Evelyn David

ISBN 978-971-8551-96-7

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DedicationIn loving memory of Rocio Uruijo Zobel

and Fernando Zobel de Ayala

Graven Images1964 - 2014Pandy AviadoFifty Years of Printmaking

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ContentsContents6MessageMa. Elizabeth “Mariles” GustiloSenior Director, Ayala Museum

7The Printed World of Pandy AviadoLeonidas V. BenesaThe Printmakers, Manila: Department of Public InformationLeonidas V. Benesa

8Introduction to the ExhibitionDitas R. SamsonSenior CuratorAyala Museum

17Catalogue

82History of Printing and Printmaking in the Philippines

83Timeline

94Printmaker’s Cookbook Glossary

98Acknowledgements

99About Ayala Museum

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Message

The ability to produce quality work consistently over a fifty-year period is to be admired and lauded. This is what we celebrate in the exhibition and catalogue Graven Images: 1964-2014, Pandy Aviado: Fifty Years of Printmaking. The most significant printmaker to emerge in the mid-1960s immediately after Manuel Rodriguez, Sr. and Rodolfo Paras-Perez, Pandy Aviado is one of the legendary first Thirteen Artists of the Cultural Center of the Philippines in 1971. He participated in numerous group exhibitions here and abroad and represented the country in several international art exhibitions, such as the Sao Paulo Biennale in 1967, the Indian Triennale in 1968, and the Paris Biennale in 1969, as well as in various exchanges on the art of fine print.

But what makes Pandy’s career all the more meaningful and admirable is his willingness to share his knowledge and craft. As a faculty member of the University of the Philippines College of Fine Arts and Dean of the College of Music and Fine Arts of the Philippine Women’s University, he awakened many young Filipino artists to the intricacies and beauty of graphic expressions. He introduced many of his fellow artists to the art of fine print including Bencab, Ray Albano, Efren Zaragoza, and Lucio Martinez. In 1978, he set up The Monastery, a private print workshop, in Baguio with Michael Parsons. In 1989, with Jolly Benitez, Aviado established the Mariposa Gallery and Workshop in Cubao, which became the home of the Philippine Association of Printmakers for the next three years. Over the years, Pandy remains a champion for the graphic medium.

For his unwavering commitment and passion to the delicate yet powerful art form of printmaking and what he refers to as “the road less traveled,” we are humbled and remain forever grateful.

Ma. Elizabeth “Mariles” L. GustiloDirector, Ayala Museum

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Some fifteen years ago, in 1959 and 1960, a representative from the Rockefeller Foundation visited Manila to see if his organization could interest a Filipino artist or two to take up printmaking in the United States, and to come back from the apprenticeship to initiate a sort of graphic art movement in the Philippines. The art of the fine print was practically unknown or largely unappreciated as a major form of expression among Filipino artists. The attitude was understandable enough: that was the time when the “Neorealists” and other artists attached to the Philippine Art Gallery were busy consolidating their positions after a breakthrough in painting in the mid-fifties, and they were not in the mood to be distracted by the seductions of a “minor art form.”

--Leonidas V. Benesa, The Printmakers, Manila: Department of Public Information,

1975

The Printed World of Pandy Aviado

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There were several pioneers and one acknowledged “Father of Philippine Printmaking” in local modern graphic arts. While it is an old art form and technology, Filipino artists in the twentieth century had often resisted etching or carving images on a wooden block or copper plate, and using the complex printing press for artistic expression.

The well-known story and history is Manuel Rodriguez, Sr., who upon his return in 1962 from a study grant at the United States, spread the good news about printmaking to his colleagues and the next generation of artists, similar to how Victorio Edades introduced modern art in 1928.

The print medium itself has a history of preaching and proselytizing. Integral to the Spanish colonial period in Philippine history was the printing and proliferation of the Doctrina Christiana, which also had several editions in the Eastern Hemisphere in the sixteenth century. The influx of religious orders (Dominicans and Augustinians) in the country at the dawn of the Spanish conquest necessitated the proliferation of prayer books and estampas (printed portraits of devotional saints or religious scenes) therefore requiring a printing press. Several Filipino engravers like Francisco Suarez, Nicolas de la Cruz Bagay, Laureano Atlas, and Felipe Sevilla produced printed estampas and estampitas and called themselves Indio Tagalo or Indio Filipino. Native artist-printers Nicolas de la Cruz Bagay and Francisco Suarez engraved a map of the Philippines done by Pedro Murillo Velarde in 1734, the first time the archipelago was represented cartographically. The transfer of inks and images on the hard surface of a wooden block or copper plate onto paper that were multiplied and disseminated sparked knowledge, inspiration, devotion, and committed conversion among the inhabitants in the archipelago during the Spanish colonial period.

In the twentieth century, the first serious practitioner of the graphic medium as fine arts in the Philippines is Spanish-born Juvenal Sanso, who trained extensively in etching in Paris. However, Sanso did not have direct contact with Filipino artists because in 1953, he established residency and a studio in Paris, where he worked exclusively on etchings until the summer of 1968 during the student riots. In 1957, Sanso put up a solo exhibition of etchings at the Philippine Art Gallery, which provided exhibition space for artists who were trying their hand in modern art.

The year 1962 is a milestone year for Philippine printmaking. Both Manuel Rodriguez, Sr. and Rodolfo Paras Perez returned from advanced studies abroad and had influenced the artists who would be doing printmaking in some way. Rodolfo Paras-Perez had a masters in art history from the University of Minnesota and had trained in several graphic media during his graduate study. Paras-Perez preferred the woodblock as his mode of graphic expression and his large-scale woodcuts, especially The Kiss (1962, Ateneo Art Gallery Collection) had influenced artists who would subsequently produce woodcuts such as Rodolfo Samonte and Mario Parial. However, his influence was indirect through his exhibitions of prints and, as a professor of art and the humanities at the University of the Philippines, through the

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teaching of art history and writing on the Philipine art scene. Paras-Perez had also set the standard in the practice of a professional printmaker—completing his edition or folio of prints that are numbered and destroying the original woodblock.

As the artist selected by the Rockefeller Foundation to undergo workshop training at the Pratt Graphic Center in New York, Manuel Rodriguez, Sr. returned to the Philippines full of visionary zeal to introduce and propagate the art of fine print as a legitimate art form worthy of practice by a multitude of disciples and be created in multiples. Eventually the artists of the Art Association of the Philippines interested in printmaking and inspired by Rodriguez banded together to form the Philippine Association of Printmakers in 1968.

After the pioneering work done by Manuel Rodriguez, Sr., Juvenal Sanso, and Rodolfo Paras-Perez, eminent art critic Leonidas Benesa cites Pandy Aviado as the most significant printmaker to emerge in the mid-1960s, “with his masterly etchings that appear to explore and express in graphic terms the nether regions of the psyche.”

When asked why he became a printmaker, Pandy Aviado said that he found prints beautiful and the printing press an exciting challenge. The fervor for printmaking was also possibly the result from fortuitous encounters with various artists Pandy Aviado met during his college years and who had profound influence and inspiration in his artistic growth, each artist had a certain pioneering role in the visual arts scene at the time.

Aviado first saw prints as a college student at the Ateneo de Manila University. He had shifted from Chemistry to Humanities and became a member of the Ateneo Arts Club, led by Fernando Zialcita and Luis Acosta. The young Aviado saw art films and attended exhibits and lectures by the leading artists in the 1960s—Arturo Luz, Fernando Zobel, Lee Aguinaldo, and Jose Joya. Aviado also enjoyed frequent visits to the Ateneo Art Gallery, where curator Emmanuel Torres was a friend. He was totally fascinated with the prints by European masters, part of the art collection that artist Fernando Zobel had given to Ateneo before he settled in Spain in 1960. As Aviado remembers his student days:

“As a member of the Ateneo Arts Club (1963-1966), we had access to the Ateneo Art Gallery during school days. It was then located at the ground floor of the Bellarmine Hall. We spent most of our free time inside the air-conditioned Art Gallery office/stock room and go over all the art books we could lay our hands on. One particular collection I was totally crazy about was the Print Collection. I had a particularly nice feeling looking at a Goya, at a Picasso, a Rembrandt and at a Frasconi woodcut. As I had memorized most of them, the collection became my first real education on the art of printmaking.”

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Fernando Zobel’s various experimentations and pioneering role in non-objectivism in Philippine painting had a profound influence on the next generation of artists. Before Zobel settled in Spain in 1960 to become a fulltime artist, he left his collection of Philippine modern art to the Ateneo Art Gallery. The collection included prints by European masters that had fascinated and mesmerized the young Pandy Aviado. The young artist also attended Zobel’s lectures on art and contemporary Spanish artists at Ateneo. Years later, Fernando Zobel would purchase the 1965 woodcut Autoretrato for the Ateneo Art Gallery. Aviado’s own work is now included in the collection that got him on the path to printmaking.

Aviado also joined an art workshop conducted by Araceli Dans, who he considers as his first art teacher. As one of the foremost art educators in the country, Dans organized the Fine Arts Department at Philippine Women’s University and the art education program at the Ateneo Grade School, coincidentally the two institutions that nurtured Aviado’s art career. In 1960, Araceli Dans founded the Philippine Association of Art Educators with visual artist Brenda Fajardo. Dans is also a major artist who is most renowned for her still life paintings of garden blooms and openwork embroidery, images that require technical dexterity and a fine eye for details and texture.

At the end of the art workshop at Ateneo, Dans took the students on an art tour. The last site in their itinerary was at Mabini Street in Manila, where the Contemporary Art Gallery was located. The gallery was where Araceli Dans had her first solo exhibition; she introduced her workshop group to the artist who was running the space. Manuel Rodriguez, Sr. had returned from his study grant in printmaking in the United States and was preparing to move his gallery and print workshop to another location on San Andres Street. Aviado described his first meeting with the man, who is acknowledged as the Father of Philippine printmaking and whom he called Mang Maning.

Silkscreen frames and serigraph cards were scattered all over. The designs on the cards were the typical Mother and Child, the man and the carabao, the Three Magi and angels with white wings. There were to me, quite modern in rendition. It was the first time I saw those things. I also saw a press for printing. Mang Maning was introduced and…spoke about his plans about printmaking and how he wants artists and people to understand it more. While he spoke, there was this look that he had, you know, it was as if he was some kind of preacher. It was a spiel delivered by men of vocation.”

Aviado later read an article in a weekly magazine on Manuel Rodriguez, Sr. and on printmaking and the medium of lithograph, “etching on stone.” He visited the new place of Rodriguez and proposed twenty pesos per session at the workshop. During his treks to Malate he would take his “obligatory promenade” to Ermita, visiting the Philippine Art Gallery, the Luz Gallery, and various artist studios. The area had a sort of bohemian appeal to the young Ateneo student, similar to how young artists gravitated to Greenwich Village in New York and to the Latin Quarter in Paris.

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Although Aviado had done woodcuts and rubbercuts at Ateneo, the artist began his first serious lessons in printmaking during his sessions at the Contemporary Graphic Arts Workshop, the new place of Rodriguez on San Andres Street. As recommended by Rodriguez, Aviado first worked on stone lithography, then proceeded to the etching press. Aviado wanted to pursue a course in fine arts and decided to transfer to the University of Santo Tomas (UST), where Rodriguez was teaching. Victorio Edades, who is recognized as the Father of Philippine Modern Art, reviewed his work and wrote a letter of recommendation to the UST registrar stating that “I have just been looking over the drawings, woodblock prints, watercolors made by Mr. Virgilio Aviado, and I have been very much impressed by their high quality.” However, he was unable to register at the Dominican university; the artist thinks that his Jesuit education may be the reason. Instead he enrolled at the Philippine Women’s University (PWU), where he was one of two male students and where his mentor, Rodriguez, was also with the faculty. As a college student, Aviado will study fine arts at PWU, take his academic subjects at the Ateneo and continue his printmaking sessions at the workshop with Rodriguez. It was a fulfilling, productive, and educational time when he honed his skills in the graphic medium while meeting fine arts students from other universities and meeting interesting personalities from the art scene like writer Leo Benesa and artists Cesar Legaspi and Jose Joya. More importantly, Aviado the student was learning directly about technique and about famous printmakers from the master himself, Mang Maning.

“Sometimes Mang Maning (Rodriguez) would join my experiments…I asked him what process should one begin with when going into printmaking. He said that one can start with as many things one is capable of doing and do them all at the same time, like him. After doing and learning the process, I was delighted with the results…Lithograph became my stepping-stone to printmaking.”

Other than sessions at Contemporary Graphic Art Workshop during this period, Aviado was also spending time attending exhibitions at the nearby gallery of the Art Association of the Philippines, where he would often meet Fernando Zobel. During exhibition openings, Zobel would introduce him to other artists like Roberto Chabet and Mars Galang, who in turn would introduce him to his other contemporaries like Lee Aguinaldo, Bencab, Fred Liongoren, Jaime de Guzman, and Ben Maramag.

When Rodriguez was commissioned to do work elsewhere, the printmaking workshop sessions on San Andres street stopped, and Aviado had his own printing press fabricated from spare parts found in a junk shop and set his own studio workshop in his parent’s home. With his own printing workshop, Aviado introduced the art of printmaking to other artists like Bencab, Raymundo Albano, Restituto Embuscado, Efren Zaragoza, and Lucio Martinez. He believes that the skill in printmaking he is sharing with fellow artists enhances their art because “the wealth of technical knowledge … from printmaking will open up new vistas and possibilities.” Aviado also began printing editions for prominent artists like

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Roberto Chabet, Jose Joya, Juvenal Sanso, Cesar Legaspi,and Anita Magsaysay-Ho in his studio. Aviado continued to pursue and perfect his creative and technical skills in printmaking during his college years. In 1964, he decided to enter the Shell Student Art Competition and two of his prints garnered first prize and honorable mention. Aviado began to join group exhibitions, first with the printmaking apprentices of Rodriguez, where he and Jo Escudero were the guest artists and in the group exhibition organized by Rodriguez at the Chatham Gallery in Hongkong. Aviado and Escudero mounted a joint exhibition at the AAP Gallery in 1965, and Arturo Luz invited Aviado to consign his prints at the Luz Gallery. In 1967, he had his first individual exhibition at the Luz Gallery when it opened its new space along EDSA. With the recommendation of Fernando Zobel, Aviado obtained a study grant in Madrid, with Zobel providing the airfare. Aviado underwent further training and specialization in etching and lithography at the Escuela Superior de Bellas Artes in San Fernando and at the Ecole des Beaux Arts in Paris.

In his first individual exhibition at the Luz Gallery in 1967, Emmanuel Torres wrote that:

“In prints dealing with recognizable reality, there is an abundance of subjects reflecting an omnivorous curiosity; colonial santos, sarimanok designs, faces and anatomies stripped to their nerves and arteries, Haniwa figures, rundown Manila houses, Venus fly-traps, Mangyan primitive stick-men, etc…His prints reverberate with a wide battery of artistic influences…But what is unexpected is his ability to impose his own personality upon such borrowed idioms to make his individual voice heard above the voices of his varied influences… Aviado’s imagination crackles like a live wire shooting off strange new sparks. Watch it.”

Torres also wrote that Aviado is “one artist whose prodigious creative energies are almost totally consumed by printmaking” and is “proficient in a variety of graphic art media—intaglio, woodblock, collography and others—an artist of prodigious enthusiasm, vivacity and unpredictableness.” In his exhibition notes for this first solo exhibition, Roberto Chabet added that in viewing Aviado’s works “…one forgets that they are prints. Simply, instead, one sees pictures, visual experiences forcefully, convincingly, at times fearfully and disturbingly given form.”

In 1970, while Aviado was in Spain for his study grant, Roberto Chabet, then Museum Director of the Cultural Center of the Philippines (CCP), had selected Pandy Aviado for a group exhibition, entitled Thirteen Artists. Chabet explained the curatorial criteria of his selection:

“The artists represented…belong to a new generation of painters, sculptors, and printmakers that promises to dominate the Philippine art of the seventies. This is a young group whose average age is 28. Not surprisingly, their works show recentness, a turning away from past, familiar modes of art-making, a movement towards possibilities and discoveries. It is recentness that is made credible by a keen awareness of artistic problems, an articulate command of means to pursue innovative solutions, and a confident commitment to ideas.

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In the individual successes of these artists, fulfilment, too, of the modernist tradition in Philippine art is being realized…they have accelerated the motion initiated by our earlier generation of modernists.”

Other artists selected in the groundbreaking exhibition include: Raymundo Albano, Angelito Antonio, Antonio Austria, Benedicto Cabrera, Eduardo Castrillo, Restituto Embuscado, Marciano Galang, Jaime de Guzman, Lamberto Hechanova, Noel Manalo, Ben Maramag, and Manuel Rodriguez, Jr. In subsequent years, as a form of recognition of the Thirteen Moderns who rallied around Victorio Edades in the pre-war 1930s, this 1970 exhibition developed into the CCP Thirteen Artists Awards given every few years to a new batch of artists who show “fresh visual language, innovative solutions to artistic problems, and sustained creative output.“ These responsibilities or obligations seem to be part of Aviado’s art practice upon his return to the Philippines after his European sojourn. In his tireless and persistent endeavors in producing a large body of work in the graphic medium, Aviado also provided support and encouragement for both established and emerging artists in pursuing printmaking.

Parallel to the spread and dissemination of a new creed and devotion in the islands accelerated with the printed word and images on paper centuries ago at the beginning of Spanish colonization, Aviado continued the mission of his mentor Manuel Rodriguez, Sr. in advocating printmaking in his numerous exhibitions, workshops, and leadership role in various artist groups and institutions throughout his career. After his extensive training in etching and lithography in Madrid and Paris, Aviado returned to the Philippines in 1976 and reconnected with mentors Manuel Rodriguez, Sr. and Araceli Dans, and with friends and colleagues. He soon became heavily involved in the activities of the Philippine Association of Printmakers (PAP), and was president for both PAP and the Art Association of the Philippines. One of his first projects upon his return was working with Manuel Rodriguez, Jr. in the public display of art in buildings strategically located in the cityscape in an attempt to bring the visual arts to the everyday reality of Filipinos.

Teaching in a classroom was also integral in propagating the print medium; Aviado joined the faculty of the University of the Philippines (UP) College of Fine Arts and later was dean of the College of Music and Fine Arts in his alma mater, Philippine Women’s University. In 1978, Aviado moved to Baguio and with businessman and artist Michael J. Parsons opened The Monastery in the hill station area of the cool city. The Monastery is private print workshop with high quality tools, equipment, and materials, where both local and international artists can work in different media. The Monastery ceased operations in 1991 soon after the Baguio earthquake and when Parsons fell ill. Eleven years later in 1989, Aviado and Jolly Benitez opened the Mariposa Gallery and Workshop in Cubao, which became home of the Philippine Association of Printmakers (PAP) for some years. Aviado was also Director of the Coordinating Center for Visual Arts of the Cultural Center of the Philippines (the same

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institution that named him as one of the first of the Thirteen Artists) and Head of the National Committee of Visual Artists of the National Commission for Culture and the Arts. Both government positions benefited from his network of artists and had pushed further the agenda for contemporary graphic expression. When the Mariposa Gallery and Workshop, in turn, closed in 1991, Aviado persisted in his vision for the popularity of the print medium by coordinating with various institutions for the acquisition of a lithography press courtesy of the French Embassy. The press was first under the custody of the UP College of Fine Art before it was transferred to its present location in the Folk Arts Theater within the CCP Complex, which is also the new and present home of the PAP and where training workshops on printmaking continue to be held regularly for the new generation of Philippine printmakers.

During his participation at the Havana Biennale in 1991 Aviado, together with another Filipino participating artist Jun Yee, and Jose Ayala, who was the assistant director of the biennale, created and declared a manifesto for the use of indigenous materials in artmaking. The underlying concern was the care for the environment but a benefit in the long run is obtaining a sustainable, organic, and commercially viable supply of handmade paper for printmaking and other media.

Like his mentors Manuel Rodriguez Sr. and Araceli Dans, the work of Aviado was never totally abstract but persisted on creating images from history, his personal world, popular culture, and classical myths on stone and copper. While his mentor Rodriguez had employed the usual Philippine tableaux of man and carabao, mother and child, images usually transformed into modernist stylizations in the NeoRealist canon, Aviado had mined images from the visual stimuli he relished during his heady years at the Ateneo Arts Club, when he would be attending exhibitions and lectures, watching art films such as Ingmar Bergman’s The Virgin Spring and Luchino Visconti’s Rocco and His Brothers, and drinking up the images of the print collection in the Fernando Zobel collection of the Ateneo Art Gallery. His sensibilities and affinities were shaped and informed by the intellectual camaraderie enjoyed in the company of friends like Emmanuel Torres, who was curator of the Ateneo Art Gallery and writers Luis Francia and Pete Lacaba. Academic courses in literature and in sciences such as chemistry, as well as a fascination with aesthetics and metaphysics, had equipped Aviado with a rich visual arsenal of imagery for graphic expression and other pursuits in poetry, film, animation, and essays and the disposition for meticulous draftmanship and mastery of the printing press. As an active practicing artist, Aviado continues to enrich Philippine graphic expression with concise, cerebral, and compelling images from imagination and memory.

--Ditas R. SamsonSenior Curator, Ayala Museum19 November 2014

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Sources:

Aviado, Virgilio, Ma. Victoria Abaño, and Ma. Victoria T. Herrera. Bakas: Fifty Years of Printmaking. Manila: Philippine Association of Printmakers, 2009. Print.

Benesa, Leonidas V. The Printmakers. Manila: Department of Public Information, 1975. Print.

Chabet, Roberto. “A Richly Satisfying Show – Exhibition Notes.” Asia Art Archive, 1967. Web.

Cosntantino C. Tejero, Ramon E.S. Lerma, and Dr. Ana Labrador. Virgilio Pandy Aviado: Autoretrato. Manila: Pandy Aviado Publishing House, 2008. Print.

Dr. Labrador, Ana, Constantino C. Tejero, and Ramon E.S. Lerma. The Last Bohemian: The Life and Art of Virgilio Aviado. Manila: Pandy Aviado Publishing, 2008. Print.

Harding, Beatrice. Survival Through Art: A Biography of Manuel Rodriguez, Sr. the “Father of Printmaking” in the Philippines. Manila: Regal Publishing Co., 1974. Print.

Hernandez, Eloisa May P. “The Spanish Colonial Tradition in Philippine Visual Arts.” National Commission on Culture and the Arts, 1999. Web.

Hofileña, Saul. The Last Bohemian: The Life and Art of Virgilio Aviado. Manila: Baybayin Publishing, 2013. Print.

Mallari, Perry Gil S. “Virgilio ‘Pandy’ Aviado on Making his Mark.” The Manila Times. Pandy Aviado Official Website, 2009. Web.

Ocampo, Karen, Eileen Legaspi-Ramirez, and Wire Tuazon. “13 Artists Awards 2009.” Asian Art Archive, 2009. Web.

Pilar, Santiago Albano, and Imelda Cajipe-Endaya. Limbag Kamay: 400 Years of Printmaking in the Philippines. Manila: Cultural Center of the Philippines, 1993. Print.

“Thirteen Artists – Exhibition Catalogue.” Asian Art Archive, 1970. Web.

Torres, Eric. “Richly Satisfying Show.” The Manila Times. Asia Art Archive, 1967. Web.

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Catalogue

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FREAK WAVE1964

Etching and sulfur tint27 x 20 cm

Ateneo Art Gallery Collection

LANDSCAPE AFTER E.WATSONEpoxy print20/201964

Atty. Ernesto Caluya, Jr. Collection

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AUTORETRATO1965Wood cut print111 x 115 cm Ateneo Art Gallery Collection

AUTORETRATO 1965Carved and painted wood panel111.7 x 24.7 cm

Ateneo Art Gallery Collection

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DEMONSTRATION2/20

Woodcut1965

15 x 16 cm


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HOMAGE TO ETERNAL TRIANGLECollograph

1/121965

Restrike 1970


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NAZARENO A/P1965Rubbercut19.5 x 23 cm


CHRISTIANIZATION OF THE PHILIPPINEA/P

Rubbercut1967


IHS1966

Hand-painted rubbercut23.5 x 26.2 cm

Artist Collection

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ST. IGNATIUSA/P

Woodcut1967

28 x18 cm


SELF-PORTRAITEdition 3/25

196650 x 36 cm (framed)

29 x 17.5 cm (image)Wood engraving

Cultural Center of the Philippines Collection

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THE ASSASSIN4/20

Etching1970-1971

9.6 x 13.7 cm


HOMAGE TO DODJIE LAURELProof II

1970Colored etching

9.5 x 13.8 cm

Rocio Urquijo-Zobel Collection

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WHITE LIGHTNINGEtching

Proof No.11971


HOMAGE TO SANCHEZ-COTAN10/30

Etching1971

11 x 12 cm


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A CHRISTMAS CARD 1/301971

Mezzotint3.5 x 7.2 cm


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HIROSHIMA My Love 5/101970

Lithograph49 x 42.5 cm

Artist Collection

ST. PANDYEdition 7/50

Etching1972

26.5 x 32.6 cm (paper)CCP.89.II.120


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CUENCAEtching

1971A/P

Recuerdo de mi viaje, CasasColgadas

1971 -19729.5 x 7 cm


THE BOXER 19/201971

Lithograph47.5 x 39.5 cm

Artist Collection

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CIRCLE CROPS1975

Etching15.5 x 44.8 cm

Artist Collection

END OF THE GAME1975Etching62 x 48 cm

Artist Collection

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EYES A/P1978


Artist Collection

31

HIVE1978


Artist Collection

ABRAZO1978

Etching

Artist Collection

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PITCHER PLANT1979

Etching21 x 17 cm

Artist Collection

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STILL LIFE1979

Hand painted drypoint22.5 x 22.5 cm

Saul Q. Hofilena, Jr. Collection

ORCHID 1979

Painted gravure A/P17 x 6.5 cm


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TANTALOUS1980

Etching


DUTCH INTERIOREdition 2/12

85.5 x 65 cm (framed)38 x 34.5 cm (image)

Drypoint1981

CCP.96.II.017


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TAZA DE ORO1982

Dry point47.5 x 37 cm

Artist Collection

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ALOE VERA1983

Etching36 x 29.5 cm

Artist Collection

HAPPY BIRTHDAY GOYA! 2/201983

Drypoint15 cm diameter


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HALF FACE 1983Drypoint A/P10 x 3 cm


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GARDENEtching

1983


MY BACKYARDHandcolored etching

27.5 x 34 cm

Mercedes Zobel Collection

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LANDSCAPE A/P 1985

28.5 x 25 cm

Artist Collection

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WAY BEYOND1985

Etching

Artist Collection

MOONDAWG1985

Etching49.5 x 35 cm

Artist Collection

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DOG BARKING1985

Etching20 x 19.5 cm

Artist Collection

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GOING ORGANIC(MOTHER EARTH)

1985Etching

35 x 27.5 cm

Artist Collection

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POPSICLESVariation 6/12

Handcolored etching36 x 23.7 cm


GEMS1985



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LEFT SECTION CRUCIFIX1985


Artist Collection

CRUCIFIXION AFTER GRUNEWALD(middle section) A/P

1985Etching

36.3 x 23.5 cm

Artist Collection

CRUCIFIXION AFTER GRUNEWALD

Right side Etching1986

36.3 x 23.5 cm


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SARIMANOK1988

Etching50 x 32.5 cm

Artist Collection

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GEMINI RISING1986

Etching27 x 33.5 cm


THE NIGHT BEFORE1986


Artist Collection

47

BUDONG 1 A.P1986

Etching 50 x 38.5 cm

Artist Collection

EVELIO JAVIER1986

Etching1980

21 x 27.8 cm


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THE FIDDLER1987

Etching30 x 18 cm

Artist Collection

HIROSHIMA MON AMOUR1987

Etching42 x 52 cm

Artist Collection

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UNDER THE OCEAN1990

Etching27.5 x 34 cm

Artist Collection

SANGUMAY ORCHID1990

Etching17 x 13 cm

Artist Collection

50

SALAGUINTO1990

Etching24 x 20.5 cm

Artist Collection

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AGILA1990

Aquatint etching27.5 x 35 cm

Artist Collection

ORCHIDS A/P 1990

Etching A/P45 x 35.5 cm

Artist Collection

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ORIENTAL HOROSCOPE1990

Etching35 x 30 cm

Artist Collection

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ALMA MATER1990

Etching12 x 16 cm

Artist Collection

THE COBBLER1991

Linocut mounted on painted canvas86.5 x 63.3 cm

Artist Collection

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RIZAL PROVINCE1991

Linocut mounted on painted canvas59 x 87 cm

Artist Collection

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THE AMBULANT VENDOR1991

Linocut mounted on painted canvas47.7 x 77.5 cm

Artist Collection

MAG-INA A.P #31994

Rubber cut39 x 29 cm

Artist Collection

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PUTOK SA BUHOWoodcut

1995203 x 91.5 cm

Artist Collection

PINTADOS, MALAKAS AT MAGANDA1996

Woodcut151 x 65 cm

The Crucible Gallery Collection

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SEKYU AND METRO AIDE1996

Woodcut150.8 x 65 cm


ROCKERS1996

Woodcut143.5 x 64.7 cm


58

REBEL WARRIOR AND NUN1996

Woodcut143.7 x 64.5 cm


NINANG AND NINONG1996

Woodcut133 x 64.7 cm


59

SEKYU1996

Carved and painted wood panel

130.8 x 28.5 cm


ROCKER1996


125.5 x 28.5 cm


REBEL WARRIOR1996


125.5 x 28.5 cm


60

DIWA A.P.1996

Etching55 x 46 cm

Artist Collection

61

AUTORETRATO1996

Solar etching21.4 x 15.2 cm


62

FROM THE FOLLIO “RUBBINGS”1999

Woodcut28 x 22 cm

Artist Collection

63

64

65

66

67

EVE DREAMING OF THE APPLEOR THE APPLE DREAMING OF EVE 5/6

2000 Lithograph30 x 23 cm

Artist Collection

68

69

GENESIS PRINTS2008

Rubbercut with plate43.2 x 30.5 cm30.5 x 22.9 cm

Artist Collection

70

VOLKSWAGEN PHOTO PRINT2010Etching and giclee mounted on paper32 x 46.7 cm

Artist Collection

VOLKSWAGEN1977

Handpainted28.8 x 38 cm

Artist Collection

71

FILIPINA 22011

Painted gravure30.5 x 95 cm

Marivic Vasquez Collection

SKELETON2013Drypoint mounted on painted board32 x 50 cm

Artist Collection

72

SAGITTAIRE A/P 2011

Etching30 x 17 cm

Artist Collection

73

ART DECO HOUSE2014

Handpainted etching25.5 x 30.5 cm

Artist Collection

REGINA BUILDING A/P2014

Etching30 x 20 cm

Artist Collection

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EGYPTHandcolored etching

22.3 x 27.3 cm


The Genius of Einstein leads to the destruction of Man

Edition 1/1025.5 x 32.2 cm (paper)21.7 x 20.3 cm (image)

LithographUndated

CCP.89.II.016*unframed


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POTEMKIN Etching

14.5 x 15.5 cm


SGHDrypoint

29.4 x 21 cm


76

NEWTON’S BODYPROOF # 5

Drypoint32 x 11 cm


CARICA PAPAYA2014

Etching

Artist Collection

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SANGUMAYInk


MUSICA 8/20

Colored etching19.5 x 14 cm


78

WASPSHandcolored etching

36.5 x 24.5 cm


SARIMANOKHandcolored etching

49.5 x 36.5 cm


79

PARIS WALKS2011

Painted gravure29.5 x 42 cm

Ben Cabrera and Annie Sarthou Collection

80

BELLADONNAHandpainted etching mounted

on painted plywood30.5 x 39.8 cm


81Picture credit: Diana Aviado

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History of Printing and Printmaking in the Philippines

Printmaking is the process of printing artworks on various media, including paper, woodblock, and copper plate. There are four basic methods in printmaking, namely: relief, intaglio, surface, and stencil prints. These processes can be utilized individually or in conjunction with each other. The technical prowess and innate talent of an artist is required in printmaking, a complicated process involving use of various tools, chemicals, and other materials.

Images produced through printmaking are called fine prints. These are produced in limited quantities, and can be categorized as original prints, reproductions, limited editions, artist’s proofs, fine-proofs, trial proofs, and facsimiles. Fine prints made through manual processes are of higher value than those done through photochemical methods.

What is the difference between printing and printmaking? Printing is the general process of producing print materials—putting words and photographs onto paper—using a printer, printing press, or other printing devices. Printmaking is the specific act of producing artworks on print materials. Printing can be done by anyone, from a publisher printing newspapers to a student printing homework at home. Printmaking can only be done by an artist of considerable skill and talent.

In today’s age of computers and high-quality on-demand printing, the fine art of traditional printmaking in the Philippines faces new challenges. How does one tell the difference between a handmade print and a photographic reproduction? And how does the art community educate Filipinos on the value of fine prints today? This following brief timeline of printmaking in the Philippines is a simple introduction to the art and process of fine prints.

1593

The first three books printed in the Philippines mark the beginning of printmaking in the country. The Doctrina Christiana en lengua españa y tagala, Doctrina Christiana en letra y lengua china, and Wu-chi t’ien-chu cheng-chiao chen-chuan shih-lu, are printed to spread the Christian faith among the inhabitants of the archipelago. These early books on Christianity were woodblock prints.

1602

Images of Jesuits and saints printed using the woodblock method are distributed in Manila.

The first typographic press is constructed by Chinese convert Juan de Vera. Libro de Nuestra Señora del Rosario, written by Father Francisco Blancas de San Jose, is the first typographically printed book in the country.

1610

Filipino printmaker Tomas Pinpin prints his book Librong pag-aaralan nang manga tagalog sa uicang Castila.

His woodcut, the Escutcheon of the Dominican Order, is the earliest known print made by a Filipino. It serves as the cover art of Arte y Regles de la Lengua Tagala, by Father San Jose, also printed by Pinpin.

1618

Printmakers hired by the Augustinian Antonio Damba and Miguel Saixo co-publish the book Relacion de el martyrio de S.F. Hernando de S. Joseph en Japon. Religious orders in the archipelago acquire printing

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1944

Pandy Aviado is born on April 29 in Sta. Cruz, Manila, during the World War II Japanese occupation.

1950-1961

Receives primary and secondary education at Ateneo de Manila.

1956

Graduates from Grade 7 and enters Ateneo High School.

1962-1963

At the Ateneo de Manila University, Aviado shifts course from Chemistry to Humanities. He joins the Ateneo Arts Club, headed by Fernando Zialcita and Luis Acosta.

Aviado meets Manuel Rodriguez, Sr. during a student tour. He requests for printmaking lessons with the artist acknowledged as the Father of Philippine Printmaking at the Contemporary Graphic Art Workshop at twenty pesos per session.

Victorio Edades, Professor at the University of Santo Tomas College of Fine Arts writes a

recommendation letter for Aviado, who wants to study at UST, where Manuel Rodriguez, Sr. teaches. However, his application was not accepted. Aviado enrolls at the School of Fine Arts of the Philippine Women’s University, where he is only one of two male students.

1964

Fourteen of Manuel Rodriguez’s printmaking apprentices—all women—exhibit at the Philamlife building. Joining them are Josefina Escudero and Pandy Aviado.

Joins the Shell National Student Art Competition for the first time and wins first prize and honorable mention in the graphic arts category.

Also joins the group exhibition organized by Manuel Rodriguez at Chatham Gallery, Hong Kong.

1965

Aviado wins second prize in the graphic arts category of the Shell National Student Art Competition; and third prize in the modern painting category of the Student Religious Art Contest.

Virgillio Pandy Aviado Timeline

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presses to print materials that support their evangelical work in the country.

1623

Pinpin completes his most elaborate woodcut, the Royal Spanish Coat of Arms Enclosed in an Ornate Frame, which adorns the Relacion verdadera del insigne excelente martyrio, a book written by Melchor de Manzano and Charles Ralph (C.R.) Boxer.

The San Gabriel Hospital Press in Binondo prints the Japanese book Virgen S. Mariano Tattoq I Rosariono Iardin, which features a copper print of the Escutcheon of the Dominican Order. This is the first time copper plate engraving is done in the country.

1703

Manga panalanging pagtatagobilin nang calolouang naghihingalo by Gaspar Aquino de Belen is a pasyon, a poetic interpretation of Bible stories in Tagalog and other local dialects. It becomes a bestseller.

1713

Translated from Spanish by Father Pablo Clain, Ang Infiernong Nabubucsan sa Tauong Christiano also becomes a bestseller. Francisco Rodriguez did engravings for this publication, considered the first locally printed picture book.

1733

Governor-General Valdes Tamon commissions Jesuit priest, Pedro Murillo Velarde to draw a map of the archipelago. Father Murillo asks Nicolas de la Cruz Bagay and Francisco Suarez to do the engraving of the Carta Hyrographica y Chorographica de las Yslas Filipinas. Completed the following year, Bagay and Suarez are the first to affix the words indio tagalo to their signatures.

1749

Neustra Señora de la Rosa in San Pedro, Makati and Nuestra Señora de la Paz y Buen Viaje in Antipolo, copper engravings by Laureano Atlas are included in the book of Father Murillo Velarde, Historia de la Provincia de Philipinas de la Compañia de Jesus.

1759

The earliest existing authenticated estampa or estampita—a loose-leaf print featuring a representation of a saint—features the Image of the Nuesta Señora del Rosario in Her Altar at Santo Domingo Church, Intramuros by Laureano Atlas.

1858

The lithographic press, which allows faster

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With Escudero, he holds a two-man show at the AAP Gallery, Manila.

Wins first prize in the watercolor category of the Philippine Orchid Society Painting Contest.

Wins first prize in the experimental category and second prize in the woodcut category of the First National Graphic Arts Competition.

1966

Aviado wins a Certificate of Merit in the graphics category of the Shell National Student Art Contest, and third place Shell’s on-the-spot painting competition.

1967

Aviado graduates from the Philippine Women’s University College of Music and Fine Arts with a Bachelor of Fine Arts degree and an Honorable Mention for Artistic Merit.

Holds first one-man show at The Luz Gallery, Makati. Participates in the exhibition, 20 Years of Philippine Art, also at the Luz Gallery.

Represents the Philippines in the Sao Paulo Biennial, Brazil.

1968

Completes a graduate course in Art Education at the Ateneo de Manila University Graduate School.

Represents the Philippines in the Indian Triennale in New Delhi.

One-man show at the Print Gallery, Makati.

1969

Receives scholarship in fine arts from the Relaciones Culturales de España. Leaves Manila for Madrid, Spain. Studies Pintura Libre (painting) and Grabado (engraving) at Escuela Superior de Bellas Artes (San Fernando) in Madrid, Spain.

He represents the Philippines in the Paris Biennial, and joins the International Mini-Print Exhibition at the IBM Gallery, New York.

One-man show at The Luz Gallery, Makati.

1970

Studies Grabado (engraving), under the guidance of the Sanchez-Toda brothers, at the Escuela Artes Applicadas y Oficios.

In-absentia, he is selected for the Thirteen Artists exhibition at the Cultural Center of the Philippines. The exhibition theme later develops into the CCP Thirteen Artists Award.

Exhibits with Bencab and Rocio Urquijo at the Sala Honda in Cuenca. Participates in the Ibiza Biennale in Spain.

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printing of pictures, is introduced in the Philippines. This enables the printing of illustrations in local newspapers. Imprenta y Litografia de Ramirez y Giraudier is the country’s first lithographic house.

1860

La Illustracion Filipina is the country’s first illustrated newspaper.

1887

Eulalio Carmelo and Wilhelm Bauermann establish the Carmelo and Bauermann printing press, which will service the country’s most elaborate printing and lithography needs until the 1960s.

1889

The Academia de Dibujo y Pintura renames itself Escuela de Pintura, Escultura y Grabado, as it begins offering engraving classes.

1909

The School of Fine Arts of the University of the Philippines introduces engraving as a unique field of specialization.

1920’s

The rotogravure and offset presses are introduced in the Philippines. While rapid

reproduction of illustrations and pictures is now possible, these new presses sever the connection between artists and their printed works.

1952

The Art Association of the Philippines (AAP) introduces a graphic arts category in its annual competition and exhibition. Anita Magsaysay Ho wins in the category with Fish Vendors.

1953

While in Spain, Spanish-Filipino artist Juvenal Sanso creates etchings and lithographs, which he will exhibit at the Philippine Art Gallery in Manila in 1957.

1959-1960

The Rockefeller Foundation sends a survey team led by Boyd Compton to Manila, to look for a deserving artist who can study printmaking in the United States then initiate a graphic art movement in the Philippines. They choose Rodriguez, who studies printmaking at the Pratt Graphic Center in New York.

1960

Arturo Luz opens the Luz Gallery in Ermita, where along with the paintings of young Filipino artists, he also exhibits works by

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1971

One-man show at Galeria Estudio Cid, Madrid and at Librarie de Colonnes in Tangiers, Morocco.

1972

One-man exhibition at Galeria Daniel in Madrid, at Galeria Atenas in Zaragosa, and at the Luz Gallery.

1973

Works as a printer in Grupo 15

Becomes personal printer of Antonio Lorenzo, leading Spanish printmaker who Aviado regards as a “print wizard.”

Aviado studies Gravure (etching using the intaglio process) Taille Douce at the Ecole des Beaux Arts, Paris.

1974

Joins the Gravure Contemporaines des Philippines in the UNESCO headquarters in Paris, France.

1975

One-man show at Galerie Roch Art, Amsterdam.

Works as a printer in Edition Empreinte, Paris

1976

Returns to the Philippines from European sojourn

One-man show at The Luz Gallery.

1978

Joins the Western Pacific Biennial in Australia.

With Mike Parsons, opens the Monastery Print Workshop in Baguio. Aviado will run this workshop until it closed in 1991.

1986

Aviado becomes Dean of the College of Music and Fine Arts at the Philippine Women’s University.

1987

One-man show at the CCP Small Gallery.

1988

Receives the Patunubay ng Sining Award for Graphic Awards from the City of Manila during the Araw ng Maynila celebrations.

One-man show at the Goethe Institute, then in Quezon City.

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international print masters like Picasso, Rouault, Matisse, and Chagall, as well as woodblock prints by Japanese artists like Munakata and Saito.

1962

Manuel Rodriguez and Rodolfo Paras-Perez return to the Philippines, and usher in the graphic-art movement in the country. The Manila Times, Manila Daily Bulletin, Sunday Times Magazine, and Chronicle Magazine, among other major publications feature articles on printmaking in the Philippines.

Manuel Rodriguez Sr. reorganizes his Contemporary Art Gallery into the Contemporary Graphic Arts Workshop soon after his return.

1963

The US Embassy brings a travelling exhibition of 40 works by leading American printmakers to Manila and Cebu.

Rodriguez begins holding summer art classes for beginners, advanced students, and special students, at the Contemporary Graphic Arts Workshop (CGAW) in Malate.

An exhibition of Filipino graphic arts in Bangkok, features the works of Manuel Rodriguez, Sr., Manuel Rodriguez, Jr., Arturo

Luz, Rodolfo Perez, and Hilario Francia.

1966

The University of Santo Tomas hosts a ten-year retrospective exhibition of graphic art.

The Manila Bulletin reports the Philippines is at the “Dawn of a Golden Era of Art.” The report features President Ferdinand Marcos’s Independence Day speech, where he encourages Philippine graphic artists to “play a more active role in the nation’s cultural life.”

Ateneo de Manila University and the University of the East both acquire etching presses, to address the needs of a growing number of printmakers in the Philippines.

1967

The first Inter-Asian Graphic Art Festival in Manila is co-hosted by the Art Association of the Philippines and the Aristocrat Awards. Graphic artists from Asia, with several from Japan, participate in the festival.

Printmakers like Manuel Rodriguez, Jr., Marcelino Rodriguez, Lucio Martinez, and Efren Zaragosa exhibit their works at Manuel Rodriguez, Sr.’s Contemporary Graphic Arts Workshop in Malate.

Manuel Rodriguez, Jr. makes his mark in

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1989

CCP sends Aviado to Fukuoka, Japan, to participate in the Asian Print Portfolio Project.

With the help of Jolly Benitez, Aviado organizes the Mariposa Print Workshop in Quezon City. For the next three years, the PAP will work and exhibit as the Mariposa Printmakers Guild.

1990

Becomes Director of the Coordinating Center for Visual Arts of the Cultural Center of the Philippines (CCP).

1991

Joins the Tokyo International Art Show in Japan.

Exhibits collages in a one-man show at The Luz Gallery.

Joins the 11th International Exchange of Prints in Seoul, South Korea.

Joins the Havana Biennale where he writes, with artist Jun Yee and Jose Ayala, assistant director of the biennale the manifesto for the use of indigenous materials in artmaking.

1992

Represents the country in the 7th Asian International Art Exhibition (AIAE) in Bandung, Indonesia. He will participate in the AIAE regularly, in succeeding years.

1993

One-man show of collages at the West Gallery in SM Megamall, Mandaluyong City. Joins the ASEAN Indigenous Art Exhibition at the CCP. Joins the 8th Asian International Art Exhibition at Fukuoka Museum, Japan. 15th one man show of prints at the Phoenix Gallery, Baguio.

1994

Joins the 9th Asian International Exhibition at the Taipei National Museum Gallery, Taiwan.

16th one man show at the Luz Gallery and 17th one man show at The Phoenix Gallery.

Becomes Head of the National Committee for Visual Arts of the National Commission for Culture and the Arts (NCCA).

1995

Joins the Book Art exhibition at The Luz Gallery and the 10th Asian International Art Exhibition at the National Museum of Singapore.

18th One Man Show at The Crucible Gallery, SM Megamall.

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the art world with his first one-man show of 50 mixed media prints at the Luz Gallery in September. He also joins the Sao Paulo Biennial.

Manuel Rodriguez, Sr. is named a Cultural Heritage awardee by the Philippine government.

1968

The Philippine Association of Printmakers (PAP) is founded, with Adiel Arevalo as president, and Manuel Rodriguez, Sr. as adviser. The PAP workshop opens at the Philippine Women’s University (PWU).

1972

Renato Arevalo convinces the Philippine Women’s University to lend the Philippine Association of Printmakers a piece of property, where they can build their workshop. To construct this workshop, over 200 printmakers raise funds through various activities, including art auctions.

1973

Galerie Bleue hosts the country’s first international print exhibition, with the participation of artists from several countries.

An etching press from the United States installed at the University of the Philippines College of Fine Arts, signifies a greater acceptance of the art of fine print in the

Philippines.

1980

Museum of Philippine Art mounts the exhibition The Art of Fine Print: A View of 25 Years with Leonidas V. Benesa as exhibition curator. The large-scale group exhibition includes prints by Pandy, Arturo Luz, Rodolfo Samonte, Nelfa Querubin, Flora Mauleon, Restituto Embuscado, Orlando Castillo, among several artists.

1992

The PAP workshop/studio transfers to its current location at the Folk Arts Theater inside the CCP Complex. The venue is provided by the CCP.

Artist Fil Delacruz receives a grant from the French Embassy to undergo a workshop on lithography in relation with the gift of a lithography press from the French government to Filipino printmakers.

1993

The exhibition Limbag Kamay: 400 Years of Printmaking opens at the Cultural Center of the Philippines.

2013

The Philippine Association of Printmakers (PAP) marks its 45th year with an exhibition at the Cultural Center of the Philippines entitled Press On: Guhit + Kutkot + Limbag = Sugod.

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1996

19th one man show at West Gallery and The Crucible Gallery.

1997

Participates in the exhibition Eros and the Philippine Artists at The Crucible Gallery and the Taegu Asia Art Exhibition in Taegu, South Korea.

1998

Joins the Asia Print Adventure exhibition in Sapporo, Japan; the Philippine Fine Prints exhibition at the Asia World Hotel, Taipei; and the Philippine Association of Printmakers Prize Winning Prints exhibition at The Drawing Room, Manila.

1999

20th one man show at The West Gallery.

2000

Joins the following exhibitions: Fil-Korean Art Exhibition at the National Commission for Culture and the Arts (NCAA) in Intramuros; Philippine Prints at the Philippine Center, New York; PAP Fine Prints in Ayala Museum; PRINTS at Gallery 139, Makati; and Book Art at the Luz Gallery.

2002

22nd one man show in Galleria Duemila

2004

23rd one man show titled Autoretrato at the Ateneo Art Gallery.

2005

24th solo show at the Avellana Art Gallery.

2006

Joins the exhibition Four Play – Nuyda, Aviado, Bencab & Wilwayco at Gallery Astra.

2007

25th solo show at the Utterly Gallery, Singapore. Joins the 22nd AIAE in Bandung, Indonesia.

2008

26th solo show at The Crucible Gallery.

2009

The government of Manila awards him the Award for Painting during Araw ng Maynila. This is the highest recognition a painter can receive from the government of Manila.

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2010

27th solo show at West Gallery; 28th solo show at Art Informal; and 29th solo show at the University of the Philippines Los Baños Art Gallery.

Joins the International Print Exhibition in Penang, Malaysia.

2011

30th solo show in Talisay, Bacolod; 31st solo show at the Alliance Francaise Manila Gallery; and 32nd solo show at The Crucible Gallery. 2014

Graven Images: 1964-2014/Pandy Aviado Fifty Years of Printmaking opens at the Ayala Museum.

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Printmaker’s Cookbook Glossary

95

AQUATINT Porous ground to etch tonal areas into metal.

BRAYER A small hand roller used to spread ink on the inking table, or to apply it to the distributing plates or rollers of a press.

BURIN An engraver’s tool with an oblique point of tempered steel, used in line engraving.

BITE The action of acids or corrosive agents on metal.

COBALT DRIER An ingredient added to ink causing it to dry.

COLLOGRAPH Plate done by gluing paper on a surface so as it could be printed intaglio way or relief.

DOUBLE RUN To run a plate through the press twice in order to get a heavier impression.

DRY POINT To scratch the design into the metal or plastic with a steel or diamond point.

EMBOSS To produce a design or lettering in relief upon a plane surface, such as paper in printing

or engraving, or leather in bookbinding.

ENGRAVING To cut the design into the metal, wood or plastic with a graver or burin.

ETCHING To etch the design into the metal by the corrosive action of acides

ETCHING GROUND Acid resistant coating applied on metal plates. The design is scratched into the ground then etched into the plate.

FEATHERING To remove or stir the bubbles produced by the action of nitric acid on the place with a feather, pipe cleaner, or brush.

FOUL BITE Accidental etching of an area.

INTAGLIO COLOR COMBINATION To overprint several color intaglio plates on the same paper.

INTAGLIO PRINT Printing from the grooves or crevices engraved scraped, or etched into the plate. An intaglio is one of

96

the most versatile process in print-making in which the line or area that make the impression is cut into the lower than the general surface of the metal plate, holds the ink which is drawn out on the paper in

printing by the great pressure of the press. It includes engraving, mezzotint, drypoint, line etching, and aquatint.

KEY PLATE OR BLOCK The plate or block used to serve as a guide to register other plates or blocks in color printing.

LIFT GROUND To etch a positive image on aquatint by drawing with a water soluble ground.

LITHOGRAPHY Type of printing based on principle that oil and water will not mix.

MEZZOTINT A method of creating a dark surface by roughing up the plate with the tool called a ROCKER,

and working back toward the light tones by scraping and burnishing.

MIXED MEDIA To work with a combination of techniques on the same print.

OFFSETTING Indirect printing, by depositing an image on a roller or plate surface and then from there to the paper.

PLANOGRAPHY Process of printing from a flat surface, based on inability of water-wet surface to take ink.

PHOTO-ENGRAVING Printing cut or plate in which printing surface is in relief, made by photochemical process.

RETROUSSAGE To pull the ink out of the lines lightly on an otherwise cleanly wiped plate; to make the linear or tonal areas richer.

RELIEF ETCHING The design stands out in relief; the rest of the plate is etched down.

STEEL FACING To deposit a thin layer of steel by galvanic process on the surface of the copperplate to make it more resistant to wear.

STIPPLE PRINT To create a half-tone effect by engraving and etching little dots into the plate.

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SURFACE PRINT The color or printing ink deposited on the surface of the metal plate or wood block and printed by rubbing straight or by rolling pressure.

SQUEEGEE Device with rubber plate used to force ink or paint through silk screen.

RAG CONTENT PAPER Paper made from material in which there is some quantity of rag.

REAM A unit of quantity in paper, usually 500 sheets.

SOFT GROUND Hard ground mixed with a greasy substance – Vaseline or tallow. This flexible tacky ground is used to etch the design on the plate with an offset method or for the imprint of any number of textures.

UNDERCUTTING The formation of a cavity created by the side-biting tendency of acids.

WATERMARK A mark or design produced in some kinds of papers by pressure of

the dandy roll in the wet paper during its progress through the paper making machine.

WOODENGRAVING Process of cutting designs upon a block of wood leaving the designs in relief for printing. Usually done on end-grain wood.

XYLOGRPAHY The art or process of engraving on wood, or of taking impressions from wood engravings.

XEROGRAPHY The art of using a dry printing process by electrostatic method.

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AcknowledgementsAyala Museum

would like to thank the following

Ayala CorporationAyala Foundation, Inc.

Ayala Land, Inc.

Special thanks to Virgillio “Pandy” Aviado

Albert Avellana

Sari Ortiga

Avellana Art GalleryThe Crucible Gallery

Ateneo Art Gallery

Cultural Center of the Philippines

Ben Cabrera and Annie SarthouAtty. Ernesto Caluya, Jr.Atty. Saul Q. Hofilena, Jr.

Maria Victoria “Marivic” VazquezRocio Urquijo-Zobel

Mercedes Zobel

Yael BuencaminoBecca CaisipMariel Cruz

Joel de LeonChari ElinzanoRica Estrada

Victoria HerreraOrlando Jarme, Jr.

Chris B. MilladoRaul M. SunicoEmilie Valdivia

Fr. Jose Ramon T. Villarin, S.J.

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Envisioned by the artist Fernando Zobel in the 1950s, the Ayala Museum was established in 1967 under the auspices of Ayala Foundation, Inc. as a museum of Philippine history and iconography. Today, it is one of the leading art and history museums in the Philippines, committed to disseminating and promoting awareness and appreciation of Philippine art and culture through both permanent and special exhibitions.

The museum offers three permanent exhibitions: The Diorama Experience, an exhibition of sixty handcrafted dioramas that bring to life the rich tapestry of Philippine history; Pioneers of Philippine Art, which showcases the museum’s fine arts collection representing the works of Filipino masters Juan Luna, Fernando Amorsolo, and Fernando Zobel; and Crossroads of Civilizations, a tripartite exhibition featuring Philippine archaeological gold, nineteenth-century costumes, and Chinese and Southeast Asian trade ceramics recovered in the Philippines.

The Ayala Museum organizes special exhibitions in collaboration with other museums and institutions at home and abroad, and holds conferences for curators, conservators, and scholars focusing on different aspects of the museum’s collections, special exhibitions, and education programs.

About Ayala Museum

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Documents

Pandy Aviado Published by Ayala Foundation, Inc. 8/F 111 Paseo de Roxas building 1226 Makati City, Philippines Tel (632) 752-1101 to 02 In conjunction with the exhibition GRAVEN IMAGES