Analysis of Juan Luna\'s Spoliarium PDF

Preview

Summary

An essay about Juan Luna's Spoliarium using the 4 planes of art analysis by Alice Guillermo....

Description

Fig. 1. Spoliarium by Juan Luna. 1884. https://lishadailyblogs.wordpress.com/2018/09/28/spoliariumby-juan-luna-art-criticism/

Spoliarium is considered the largest painting in the Philippines. It was created in 1884 by Juan Luna and was submitted to the Exposicion de Bellas Artes in Madrid, Spain where it garnered a gold medal. The Basic Semiotic Plane Spoliarium is a large painting featuring life-sized figures spread throughout the middle band of the painting. The horizontal lines can be seen on the walls and the standing figures of the spectators, whereas the diagonal lines can be seen in the gladiators’ slain bodies, the Roman soldiers, and on the floor. The contouring in the bodies also forms the lines which distinguish the muscles, legs, and backs, which makes these figures curvilinear compared to the architecture of the basement which is rectilinear. The painting features warm, rusty colors, with red as the central color which attracts the most attention. Blue can also be seen in the woman’s clothing on the right, highlighting the difference of that certain figure from the rest. The source of light is assumed to be coming from above the colosseum basement wherein the figures in the foreground are seen to be the most illuminated, while the figures in the background fade into the dark scenery. The fallen gladiators being dragged also creates a sense of movement as the soldiers heave them to the leveled flooring. Juan Luna’s work is a 4 x 7 meter, oil on canvas. It can also be seen that the painting’s surface has traces of lines, especially the vertical one in the center since it

was actually divided into three pieces when it was shipped from Europe to the Philippines (Dalisay). The Iconic Plane The Spoliarium is the colosseum basement where fallen gladiators are brought after combat (Suarez). The scenery of the painting results in a hostile relationship with the viewers as it shows the aftermath of a gladiator match. Although the painting does not address the viewers directly, it still makes a connection by portraying the aggressive nature of humans. From this, the painting’s meaning can be understood as an allegory of the Philippines during the Spanish colonization period (Suarez). The fallen gladiator as the subject of the painting conveys the downtrodden state of the Philippines caused by their colonizers, which are portrayed by the Roman soldiers dragging the bodies. The woman on the right, who wears a contrasting color from the rest of the figures, is shown to be mourning over the loss of one of the gladiators. This ultimately conveys how the Filipino nation laments for the country’s lost freedom under Spanish rule. The spectators on the left, who seemed to be fixated on the gladiators, convey how the Philippines is brought down by those who set eyes upon it and are intent on exploiting the country. The Contextual Plane All the figures of the painting play a role to depict the tragic situation of the country. The violence and cruelty of both the games and gladiator personified key elements of Roman life, including religious practice and the display of masculine virtue so highly valued by Rome's citizens (Gerner). These values mirror how Spaniards indoctrinated Catholicism and inflicted violence towards the Filipinos, especially women, as a reflection of a patriarchal society. Juan Luna’s depiction of the games’ brutality contributes to the meaningful understanding of the Philippine context during his time. The painting also contributed to society’s knowledge of reality despite it not being explicit with its true meaning. This sparks hope in those who are able to fully understand the painting’s motives, as well as inspiring hope for our society. The Spoliarium is considered Juan Luna’s greatest work. His other paintings, such as “The Blood Compact” which promoted Philippine independence, all display his patriotic duty as a Filipino. It is also important to note that he was one of the Filipino intellectuals in Europe who were dedicated to the principles of nationalism (Torres). The Evaluative Plane The values reflected in the painting are deeply relevant to Juan Luna’s time as it is in ours. The painting remains significant today as our society continues to stand against oppression and violence. Juan Luna’s style—vigorous brushstrokes, high-lighting, the interplay of light and shadow, jagged lines, heroic proportions (Torres),

enables Spoliarium to greatly exemplify his artistry. Taking the piece’s underlying implications on society, I believe that the medium is used with high artistic skill, creativity, and insight. This specific work brought Juan Luna to ultimate fame, and despite all the praises and awards that came with it, it is undeniable that Spoliarium does not cater to the elite; instead, it reflects oppression in the Filipino society during the Spanish colonial period.

Works Cited Dalisay, Butch. "Restoring the Spoliarium." Philstar.com, 17 July 2006, www.philstar. com/lifestyle/arts-and-culture/2006/07/17/347865/restoring-145spoliarium146. Gerner, Desiree. A Matter of Life and Death: Gladiatorial Games, Sacrificial Ritual, and Literary Allusion. 2010. University of Oregon, MA thesis. scholarsbank.uoregon .edu/xmlui/bitstream/handle/1794/10637/Gerner_Desiree_E_ma2010sp.pdf. Suarez, Arianne. "‘Spoliarium’ by Juan Luna (1884)." Inquirer Lifestyle, 2 Dec. 2020, lifestyle.inquirer.net/375408/spoliarium-by-juan-luna-1884/. Torres, Eric. "In Focus: The Art of Juan Luna." National Commission for Culture and the Arts, 3 May 2004, ncca.gov.ph/about-culture-and-arts/in-focus/the-art-of-juan -luna/....