“Halángdon” at the Fine Arts Gallery of the National Museum of the Philippines-Iloilo showcases the profound and multifaceted legacy of National Artist J. Elizalde Navarro.

The exhibit demonstrates Navarro’s experimentation in and mastery of sculpture, painting, and a variety of printmaking methods. It embodies a fusion of his modernist sensibilities and evolving style, conveying themes of Asian and Filipino cultural identity.

Born on May 22, 1924, in San Jose de Buenavista, Antique, Jeremias “Jerry” Elizalde Navarro completed his primary and secondary education at San Jose Central School and Antique National High School, respectively. He was affectionately known among family and friends as “Nene” or “Mías.”

A mural at the entrance hall of the museum—a reproduction on woven polyethylene of his 1982 oil-on-canvas painting, “Ang Bulawan nga Sadok” (The Golden Salakot), honors his hometown. The original piece is displayed in the lobby area of the Antique Provincial Capitol.

Navarro’s connection to his birthplace is also highlighted by a watercolor-on-paper masterpiece, “San Jose de Buenavista.” 

Navarro was a prominent figure in Philippine arts during the 1950s, recognized for his ability to shift from calligraphic and expressionist abstraction to constructivist assemblages and sculptures, owing to his discipline and modernist orientation. The 1960s were considered a blooming period for his modernist work. He passed away on June 10, 1999, and was proclaimed National Artist for Visual Arts on Dec. 1 of the same year.

Influences 

Halángdon offers a visual survey of Navarro’s artistic journey and history, reflecting his education, influences, involvement in local and international art movements, and interactions with Filipino masters, many of whom became National Artists. 

He was a Ramon Roces art scholar at the University of the Philippines Manila, but he later transferred to the University of Santo Tomas (UST), where he completed his degree in fine arts in 1951. He was among the top students at UST and served as a columnist, later becoming the art editor, of The Varsitarian, its official student publication and considered one of the oldest student publications in the country. 

Navarro transferred to UST to meet his childhood idol, Carlos “Botong” Francisco, who later became a National Artist for Painting. He refined his skills under Francisco’s mentorship, studying alongside eminent artists of the time, including Victorio Edades, Diosdado Lorenzo, Alejandro Celis, Bonifacio Cristobal, and Francesco Monti. His brushstrokes, techniques, and color palettes clearly reflect the influence of these masters, yet his studies and innovative approaches led to breakthroughs, shaping a style uniquely his.

In addition to his academic pursuits, Navarro worked as an illustrator in the Roces publishing network, collaborating with other major figures in Philippine art history, such as Iloilo-born Romeo Tabuena and Vicente Manansala, also a National Artist for Painting. The modernist styles of both Tabuena and Manansala likely influenced his evolution into neorealism, as demonstrated through abstraction, cubism, and distorted figurative art and sculptures. 

A pivotal chapter in Navarro’s artistic development came with his travels to Indonesia, where he became a resident artist along with Cornelius Choy in Ubud, Bali, from 1987 to 1997. This decade-long sojourn led to a series of works that celebrate Balinese culture and landscape.

All these experiences with the greats of Philippine art significantly impacted his artistic life and work, leading him to reflect on subjects such as geopolitics, socioeconomic realities, and the struggles of daily life. He mirrored these themes between Bali and his home country, leaving a distinctive imprint of his artistic vision.

Comprehensive survey

The exhibition at the Fine Arts Gallery in Iloilo serves as a comprehensive survey of Navarro’s body of work, showcasing paintings, prints, and sculptures that span his artistic career. 

Among the featured prints are rare pieces, mostly untitled and undated, drawn from the personal portfolio of Navarro’s wife, Emma Navarro, as well as contributions from Pearl Navarro and Dora C. Afable—gifts to the National Fine Arts Collection of the National Museum. Selected pieces, such as “Inveterate Conversationalist,” “The Women I Knew,” “Meow Woman,” “Mechanical Installation,” “Caliraya Moon,” and “The Bali Woman,” reflect his deep memories of Ubud, Bali, and his engagement with the world around him. 

Navarro’s proficiency in and mastery of printmaking techniques—including woodcut, serigraphy, and steel plate—are evident in works such as “Musicians” (51/188, circa 1960s), “Igorot and Muslim,” and “Harana.” Copperplate or steel plate printing is considered one of the most challenging methods in printmaking, and his skill in it is undeniable. An engraving plate displayed in a glass case at the exhibition showcases his precision and technical prowess in intaglio printing. 

In addition to his printmaking, Navarro’s early exposure to European modernist art is reflected in works like “Untitled 1” and “Untitled 2,” two mixed-media pieces on paper that feature his distinctive calligraphic style. The sharp, gestural brushstrokes and vibrant colors of these pieces reveal a Japanese influence stemming from his travels to Japan in the late 1950s. This influence is further made evident in his piece “Sunday at the Park” (acrylic on canvas, December 1994), which exemplifies modernist aesthetics through the bold use of color and form, creating dynamic compositions that evoke both emotion and movement. 

Navarro’s works also contain political commentary. In two collages on paper, “Don’t Mess With These Guys” and “Time To Orbit” (1969), he addresses sociopolitical issues, offering a stark critique of his time. Despite being created over five decades ago, these works remain relevant today, resonating with the current political and social climate, and showcasing the timelessness of his artistic vision. 

Constructivism

One of the defining aspects of Navarro’s career is his exploration of constructivism, an art movement that emerged in 1915. This exploration is vividly embodied in Desaparecidos (bronze, 1996), a three-dimensional piece that invites viewers to engage with themes of form, space, and political commentary. The artwork captures a dynamic interaction between structure and movement, as well as a delicate balance of fluidity and tension.

Beyond its formal elements, Desaparecidos conveys a poignant message addressing the issue of missing persons. This could be interpreted as a reflection on the disappearances of Filipino activists and youth leaders during the martial law era under Ferdinand Marcos Sr. or as a tribute to those who vanished without resolution in the aftermath of the Edsa People Power uprising a decade later. 

Assemblages with a constructivist orientation became a hallmark of Navarro’s work, where he highlighted geometric shapes using industrial materials—sometimes even repurposed waste materials like wood and metal—up until his death in 1999. 

His innovative creations across various mediums reflect his firm commitment to exploring the intersection of form, material, and meaning. His work transcends traditional boundaries, and his legacy ensures his place as a key figure in Philippine contemporary art, one whose influence continues to inspire generations of artists.

Read more: Rare paintings by Filipino masters on view in Iloilo City