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Las Damas Romanas is one of the early works of Luna as a painter that resurfaced in the past quarter of a century after being presumed to be either lost or missing. [5] [6] Before its reappearance in Paris many years before 2008, it had been documented only as a title and as a listed work of Luna in the 1957 biography of Luna written by Carlos E. Da Silva.
Luna’s The Battle of Lepanto provides significance to the “Spanish victory against the Turks”. For this reason, the widow of King Alfonso XII of Spain, Queen Regent Maria Christina of Austria, herself was the person who unveiled Luna’s masterpiece at the Senate Hall of Madrid in November 1887, [8] together with Pradilla’s La rendición de granada.
Juan Luna de San Pedro y Novicio Ancheta (Spanish: [ˈxwan ˈluna], Tagalog: [hwɐn ˈluna]; October 25, 1857 – December 7, 1899) 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.
The Parisian Life, also known as Interior d'un Cafi (also spelled Interior d’Un Café, [2] literally meaning "Inside a Café"), is an oil on canvas impressionist [3] painting made by Filipino painter and revolutionary activist Juan Luna in 1892. [4]
Paintings by Philippine artist Juan Luna (1857 — 1899) Pages in category "Paintings by Juan Luna" The following 19 pages are in this category, out of 19 total. ...
The Una Mestiza ("A Mestiza"), sometimes referred to as La Mestiza ("The Mestiza"), is an 1887 painting by Filipino painter and hero Juan Luna. The masterpiece is also known as La mestiza en su tocador which translates into English as The Mestiza at Her Dressing Table or Mestiza Lady at Her Dresser. [1] [2] Una Mestiza is also alternately ...
Hymen, oh Hyménée!, also known as Boda Romana, [1] is a painting by Filipino painter Juan Luna.Luna, working on canvas, started in 1886 and later completed in 1887 during the artist's honeymoon in Venice after his wedding to Paz Pardo de Tavera.
Described as a masterpiece remarkable in the aspects of quality, composition, and historical context, [6] it portrays two scantily clothed Christian female slaves being mocked by a group of boorish Roman male onlookers. [16] One of the women is posed seated naked at the foreground of the painting with her "head bowed in misery".