Anda di halaman 1dari 4

University of San Jose – Recoletos

Basak Campus
Senior High School Department

ART CRITIQUE

Name: Mary Raygie Angela M. Samatra


Gr. & Sec: 12 – St. Possidius of Calama
Itak sa Puso ni Mang Juan
By: Antipas Delotavo

I will portray the artwork by how the manner in which it looks. I will portray the physical
appearance of the man on the artistic creation and what the Coca-Cola logo symbolizes in the
composition. The shimmers and blaze of light saw in the work of art symbolize the fabulousness
related with prior one thing for Coca-Cola. The fine art itself reflects advertise trickiness
homogenized with the organization's deal of presenting its satirically "exemplary" items to the
Filipino individuals. The organization's basic goal, to give everybody access to self-satisfaction,
shows itself in the murky "incandescently happy like" highlight in the work, as seen by character
Mang Juan and the watcher. Mang Juan’s posture and stance, described by a side view, bowing
head, an anxious and disturbed face, a passive slouching back, and a seemingly-weak right-hand
holding his left elbow through his back, suggests his complete submission to the rules enforced
by the dominion of the influential and selected few in this game of survival. One obeys his
master, as the saying goes. The emergence of imperial tycoons and political dynasties
strengthened economic ties whereby its effects seemed detrimental for most of the Filipino
people. A man, somewhat stooped, going by an overwhelmingly enormous board publicizing the
Coca-Cola item. The serif of the letter 'C' appears to almost contact the exhausted figure.

Delotavo's intriguing visual fine art ponders the negative impacts the Coca-Cola
Company has realized to a Third World nation, the Philippines. Filipino craftsmen like Delotavo
connected on his works of art the idea of history repeating itself, where history continued
rehashing itself, caught through conservation by workmanship, portraying over the top world
class control gets and controls which dumped the bigger greater part of weights on the most
reduced divisions of the general public, the work power, pulling them down beneath the
destitution line. Benefit situated control of costs of merchandise, distorted media presentation of
stocks defeat, nonsensical downsize of wages, height of extra duty, and laborers pullout, all
pursued a cyclic way as yet existing up to now. The fine art allegorically encases itself as an
impact of ceaseless, unaltered procedures brought about by man himself, which at that point
enlivened more specialists to utilize brushes, paint, and peddle to depict happenings in their time
that would be history in time. It helps me to remember the past when the Marcos system governs
the Philippines. When the United States of America controls an underdeveloped nation like us.
The canvas delineates a slumped man going by an overwhelmingly huge announcement
promoting the popular item Coca-Cola. The man is a depiction of us Filipinos as one can get
from the manner in which he looks: tan skin and garments. Then again, the Coca-Cola logo is the
image of free enterprise and in Delotavo's own words, of "social subjugation." Coca-Cola has
been as of now touted as the blurb kid of "globalization". Itak sa Puso ni Mang Juan is a criticism
on the negative effects of globalization or commercialization in the Philippines. As saw, a blade
like tail of the letter C in the organization's title is pointed at the core of Mang Juan. This
uncovered the battle of a normal Filipino specialist, the exemplification of the Filipino open or
the masa, against the horrifying syndication and monetary control of universal partnerships, the
greater part of which are offering items and administrations that allure customers to live as per
"needs", and not "needs".

Hilter kilter parity is utilized in the depiction with standard beat and accentuation on the
logo of the Coca-Cola and Mang Juan's body to attract consideration regarding a specific parts
and effectively pulls in the consideration of the watcher. In his work, it might be seen that he
exuded the characteristic shades of existing elements to ingrain on watchers that sharp feeling of
commonality over the subject and successively, to inspire perspectives from various Filipino
foundations.

The sharp tip of the C in the logo has all the earmarks of being quietly cutting Mang Juan
in the chest. The sprinkles of red at that point appear to me as blood splashes on a texture. The
sharp tip of the C may allude to imperialism and private enterprise, and maybe even the disease
of the general public. Since there is a little hole between the tip of the C and Mang Juan's chest,
this can be translated as a moderate passing for Mang Juan.

Indeed, Itak sa Puso ni Mang Juan which symbolizes by the bladelike tail of the Coca-
Cola sign appears to wound the elderly person's heart, depleted of blood and life emblematically
portrays the unforgiving truth of transnational organizations. Indeed. Mang Juan appears to me
as though he is being kept down independent from anyone else or an elusive nearness. This
might be perused as an imagery of us Filipinos not having the option to push ahead as our very
own result shortcomings. We are being kept down by an immaterial nearness, neo-imperialism,
yet additionally in view of our psychological expansionism. We are being oppressed by the
outside nation not as far as brutality and fighting but rather as far as our way of life and
economy.

Itak sa Puso ni Mang Juan is a pragmatist delineation of the unique idea of what private
enterprise, globalism, imperialism is doing to our nation. The craftsman figured out how to bring
into center the monetary and political connection between the logo and Mang Juan's body.

The artistic creation Itak sa Puso ni Mang Juan was painted by Antipas Delotavo in 1978.
It was painted on a paper utilizing watercolor during the Marcos Regime which means to put
accentuation on Nationalist Art in the journey for national character and on the need to split
away from the western-situated culture. Concerning me, having a place with a monetarily
temperamental family, the 10,000 foot view recommended here is that Coca-Cola's quality in the
nation awards it the ability to control the economy, and in the long run, the general population's
lives – at that point fixated on essential needs like sustenance, haven and water, being looked
with or dueled by the organization's items like Coke, Royal and Sprite. In this way, it draws out
the possibility that craftsmanship is a removal of the craftsman's creative mind and that it joins
the movement of society and history. Besides, an association ends up built up between the
watcher and the saw since the last means things Filipinos are familiar with: the physical qualities
of Mang Juan (skin and hair hues, façade, and clothing standard), the organization's title Coca-
Cola, and the fine art's personality (work name and creator). Delotavo clarifies that he was
attracted to the Coke symbol on the grounds that for him it embodied the pervasiveness of the
US in the Third World; its internecine intercessions in Southeast Asia; and its help for the
Ferdinand Marcos system in the Philippines, which facilitated two of the US's biggest remote
army installations. Likewise pivotal here is publicizing as a vehicle of government, in ensuring
the US's domineering nearness in the economy and culture of the Philippines even after it picked
up freedom in 1946, after almost fifty years of US standard and three centuries of Spanish
occupation. The Coke logo is correspondingly a figure of free enterprise and, in Delotavo's own
words, of 'social oppression'. I would have felt the anguish and agony of Mang Juan, as well. The
way that transnational partnerships are managing in the Philippines demonstrates that we are not
yet free from the hands of our remote oppressors. The negative impacts of globalization and
commercialization straightforwardly influences the lives of customary Filipino specialists. The
Painful Truth about the Coca-Cola Company.

Anda mungkin juga menyukai