Chula series | |
---|---|
Artist | Juan Luna |
Year | 1885 |
Location | Lopez Memorial Museum |
The Chula series or Chula studies is a succession of paintings created by Filipino painter and revolutionary activist Juan Luna about the so-called "chulas" or working-class women of Madrid, Spain. [1] Luna is well known for illustrating "striking and commercially lucrative" [1] depictions of "women of the streets" of Madrid. [2] [3] Exemplars of these are Luna's Una Chula I ("A Chula" No. 1) and Una Chula II ("A Chula" No. 2) paintings. [1]
Chulas refer to the barrio-bajo women, meaning "poor-district" or lower class Madrileñas of Spain. According to José Rizal, the Philippine national hero, chulas are attractive women with black, deep, and passionate eyes wearing mantillas and carrying fans, who are "always gracious", full of conflagration, affection, jealousy and "sometimes" of revenge. [1]
The Una Chula I is an 1885 painting by Luna depicting a street woman from Madrid who is turning her head flirtatiously. The Madrileña is naughtily and alluringly looking back at the spectator. Her head is skewed coquettishly with a complicit facial appearance. The female's façade, body, and bosom are "playful" and indicating a pretense of "sexual promise". [1]
The Una Chula II ("A Chula" II) is an 1885 painting by Luna portraying another lower class Madrileña. The woman is sitting squarely with arms resting on a chair, a pose that "almost mannishly exuding (…) sexual confidence and worldliness". The woman is holding a lit cigarette between two fingers in a flirtatious way. The burning tip of the cigarette acts as an enhancement to the female's "painted lips" that supports a "slight smile". The woman is gazing towards the viewer of the painting unembarrassed suggesting a persuasive provocation. [1]
According to one Spanish aficionado of Luna's paintings who was quoted by Graciano López Jaena, Luna's depictions of chulas are "real chulas who stupefy". The same connoisseur stated further that "Luna’s chulas are "free and easy chulas" that are witty and with facetiousness and swagger. [2] Luna's portraits of chula women embodies the emergence of chulas who deserve admiration, one reason why Luna was successful in selling these type of paintings to rich friends and various commercial companies in Madrid and Paris. [1]
Juan Luna de San Pedro y Novicio Ancheta was a Filipino painter, sculptor and a political activist of the Philippine Revolution during the late 19th century. He became one of the first recognized Philippine artists.
Chula may refer to:
The Spoliarium is a painting by Filipino painter Juan Luna. Luna, working on canvas, spent eight months completing the painting which depicts dying gladiators. The painting was submitted by Luna to the Exposición Nacional de Bellas Artes in 1884 in Madrid, where it garnered the first gold medal. The picture recreates a despoiling scene in a Roman circus where dead gladiators are stripped of weapons and garments. Together with other works of the Spanish Academy, the Spoliarium was on exhibit in Rome in April 1884.
Philippine literature in Spanish is a body of literature made by Filipino writers in the Spanish language. Today, this corpus is the third largest in the whole corpus of Philippine literature. It is slightly larger than the Philippine literature in the vernacular languages. However, because of the very few additions to it in the past 30 years, it is expected that the former will soon overtake its rank.
The baro’t saya or baro at saya is a traditional dress ensemble worn by women in the Philippines. It is a national dress of the Philippines and combines elements from both the precolonial native Filipino and colonial Spanish clothing styles. It traditionally consists of four parts: a blouse, a long skirt, a kerchief worn over the shoulders, and a short rectangular cloth worn over the skirt.
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Las Damas Romanas, also known as The Roman Maidens, The Roman Women, or The Roman Ladies, is an oil on canvas painted in the style of Neo-Classicism by Juan Luna, one of the most famous Filipino painters of the Spanish period in the Philippines. It was painted by Luna when he was a student of the school of painting in the Real Academia de Bellas Artes de San Fernando in Madrid, Spain in 1877. Alejo Valera, a Spanish painting teacher, took Luna as an apprentice and brought him to Rome where Luna created Las Damas Romanas in 1882. Skilled in the style of the Academy he was the first Filipino painter to win international recognition in Europe and the US.
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La Bulaqueña, literally "the woman from Bulacan" or "the Bulacan woman", also sometimes referred to as Una Bulaqueña, is the Spanish title of an 1895 painting by Filipino painter and revolutionary activist Juan Novicio Luna. Bulacan is a province in the Philippines in Luzon island and its residents are called Bulaqueños, also spelled as Bulakenyos in the Filipino language. It is a "serene portrait", of a Filipino woman wearing a María Clara gown, a traditional Filipino dress that is composed of four pieces, namely the camisa, the saya, the pañuelo, and the tapis. The name of the dress is an eponym to María Clara, the mestiza heroine of Filipino hero José Rizal's novel Noli Me Tangere . The woman's clothing in the painting is the reason why the masterpiece is alternately referred to as María Clara. It is one of the few canvases done by Luna illustrating Filipino culture. The painting is displayed at the National Museum of Fine Arts.
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La Madrileña , sometimes simply referred to as La Madrileña, is a painting by award-winning Filipino painter and revolutionary activist Juan Luna. It depicts a woman holding an umbrella known as the parasol. La Madrileña is one of the paintings that illustrate Luna's inclination of making women an artistic theme, showing the artist's talent as an enthusiastic painter and observer of the fairer sex. La Madrileña is one of the few existing finished paintings that are regarded by art experts as a "legacy" from Luna.
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