PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION
Barrio Scene
signed (lower right) ca. 1912
oil on wood
10 1/2" x 17" (27 cm x 43 cm)






In the works at hand from the 1910s, Martinez depicts ubiquitous scenes in the Philippine countryside during the early decades of the 20th century, a time for the profound search for a national identity, which started during the late 19th century and continued towards the early years of the succeeding century. The first depicts a country road lined with bahay kubos and towering palm trees. A woman dressed in the traditional baro't saya and carrying her child can be seen walking past a panadero vending his freshly baked pan de sal. The second depicts once again bahay kubos, but this time, Martinez captures them from the river's perspective, as if nature safeguards the existence of humanity and all living creatures depending on its blessings. A woman standing and carrying a batya on her head while being at the banks of the river indicates the act of doing laundry. Martinez employs muted colors dominated by and primed with the browns of academic art, coming from his training at the Academia. Martinez does not imbue the works with a romantic atmosphere. Instead, the works are straightforward snapshots of the mundaneness of everyday living. They echo Lorenzo Guerrero's principles of making nature the protagonist of the composition, with humans as mere supporting actors in the grand orchestra of God's creation (Guerrero remained steadfast to his belief that God is the only true artist). Furthermore, Martinez imbues the works with such a stance that indicates a Filipinismo aimed at preserving the local and indigenous traditions of the country as a reaction to the brisk sweep of modernization and Americanization during the American colonial period. (Adrian Maranan)