Cover Installation shot of ‘Sansó: Pusong Pilipino’ exhibition at the National Museum of Fine Arts (Photo: courtesy of Fundacion Sansó)
Installation shot of ‘Sansó: Pusong Pilipino’ exhibition at the National Museum of Fine Arts (Photo: courtesy of Fundacion Sansó)
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The landmark retrospective ‘Sansó: Pusong Pilipino’ secures the legacy of a master who chose the Philippines as his home, bringing his art and generosity to the national stage
Surrounded by the sweeping visual narrative of National Artist Carlos V Francisco’s mural Filipino Struggles Through History, the Old Senate Hall of the National Museum of Fine Arts set a magnificent stage for a highly anticipated gathering. The formal reception for Sansó: Pusong Pilipino opened to the stirring vocals of tenor Carlo Angelo Falcis, establishing an elegant tone for a truly historic afternoon.
Although adverse weather had delayed the event by a fortnight, the enthusiasm of the city’s art patrons and cultural leaders remained undampened. “I am glad to see such a crowd make the effort to come back at this rescheduled date for this occasion, which is intensely meaningful, both to us at the National Museum and of course to our counterparts at Fundacion Sansó,” shared Jeremy Barns, director-general of the National Museum of the Philippines. Taking the podium, Barns warmly acknowledged the distinguished guests in attendance, notably Paula Vilaclara, the First Secretary in charge of Cultural Affairs at the Embassy of Spain in Manila.
Read more: Juvenal Sansó: Master of Visual Artistry
Above A photo of the late Juvenal Sansó sketching by Roxas Boulevard, from Nath and Annamee Gutierrez’s collection of archival photographs (Photo: courtesy of Fundacion Sansó)
A photo of the late Juvenal Sansó sketching by Roxas Boulevard, from Nath and Annamee Gutierrez’s collection of archival photographs (Photo: courtesy of Fundacion Sansó)
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Sansó: Pusong Pilipino is a major exhibition that features nearly 100 works spanning over 70 years of the late modernist painter and printmaker Juvenal Sansó’s career.
“Rather than focusing solely on chronology, the exhibition examines the many ways in which Sansó’s artistic identity was shaped by the country he ultimately chose as home, and why he entrusted both his collection and his advocacies to the Filipino people through Fundacion Sansó,” explained Ricky Francisco, the exhibition curator and director of Fundacion Sansó.
Above Installation shot of ‘Sansó: Pusong Pilipino’ exhibition at the National Museum of Fine Arts (Photo: courtesy of Fundacion Sansó)
Installation shot of ‘Sansó: Pusong Pilipino’ exhibition at the National Museum of Fine Arts (Photo: courtesy of Fundacion Sansó)
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Francisco shared that when Sansó returned from Europe in 1957, he saw local fish traps—known as baklad—with fresh eyes. He saw fragile structures that withstood harsh weather and the forces of nature, representing resilience, improvisation and survival. These characteristics mirrored his own experiences and those of the Filipino people. These images became an essential part of his visual language, eventually blending into his celebrated landscapes of Brittany, France.
Furthermore, Francisco noted Sansó’s commitment to making art accessible. The artist contributed to the development of the Artwalk in SM Megamall, a move that successfully brought fine art to ordinary Filipinos outside of exclusive gallery spaces. In recognition of his vast cultural contributions, President Gloria Macapagal-Arroyo conferred upon him the Presidential Medal of Merit in 2006.
Read more: Wearable fine art: the Sansó x Happy Andrada collection debuts at Discovery Primea
Above Juvenal Sansó’s ‘Lueurs’ (1963), copperplate-etching and aqua tint on paper, donation of Eliot and Cherry Maguan (Photo: courtesy of Fundacion Sansó)
Juvenal Sansó’s ‘Lueurs’ (1963), copperplate-etching and aqua tint on paper, donation of Eliot and Cherry Maguan (Photo: courtesy of Fundacion Sansó)
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The reception also marked a significant turnover for the national arts sector. Fundacion Sansó, alongside private collectors Jack Teotico, Mohammad Ronaghi, Marlon Basilio and Eliot Maguan, formally donated six original works and a comprehensive collection of archival materials to the National Museum of the Philippines.
The donated artworks represent different milestones in his long career: Nicole (1959), Lueurs (1961), Of Understated Grace (circa 1980s), Of Friendship and Devotion (circa 1990s), Flower Market (2015) and Eve (2015). Lueurs holds particular historical weight, as impressions of the composition are documented in major international institutions like the National Gallery of Art in Washington, the Yale University Art Gallery, and the Cleveland Museum of Art.
Above Installation shot of ‘Sansó: Pusong Pilipino’ exhibition at the National Museum of Fine Arts (Photo: courtesy of Fundacion Sansó)
Installation shot of ‘Sansó: Pusong Pilipino’ exhibition at the National Museum of Fine Arts (Photo: courtesy of Fundacion Sansó)
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“This meaningful gesture is made possible by the generosity of Juvenal Sansó and dedicated collectors,” noted Andoni Aboitiz, chairman of the Board of Trustees of the National Museum of the Philippines.
“These donations broaden the scope of the museum’s holdings and provide a more comprehensive understanding of Sansó's artistry, particularly his achievements in printmaking, an important aspect of his oeuvre that has not yet been represented in the National Museum’s collection,” added Aboitiz.
He also reflected on his own past conversations with the master in San Juan, expressing his delight that Sansó is being recognised so relatively early after his passing, rather than decades later.
Above ‘Baklad Series III’, lithograph on paper, from the Fundacion Sansó collection (Photo: courtesy of Fundacion Sansó)
‘Baklad Series III’, lithograph on paper, from the Fundacion Sansó collection (Photo: courtesy of Fundacion Sansó)
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“When I began working in museums over 20 years ago, one of the first exhibitions that I visited was Sansó’s etching exhibit at the Ayala Museum,” recalled Rica Estrada Uson, director of the National Museum of Fine Arts. “Nearly two decades later, I find myself here, beginning a new chapter in my own professional journey,” Uson shared. She also reported that since the exhibition opened on August 7, Sansó: Pusong Pilipino had already welcomed 39,295 guests by the time of the formal reception.
The afternoon also highlighted the ongoing impact of Fundacion Sansó. Established by the artist himself in 2015, the organisation was built to give back to the community that welcomed him.
Above Installation shot of ‘Sansó: Pusong Pilipino’ exhibition at the National Museum of Fine Arts (Photo: courtesy of Fundacion Sansó)
Installation shot of ‘Sansó: Pusong Pilipino’ exhibition at the National Museum of Fine Arts (Photo: courtesy of Fundacion Sansó)
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“Based on our 2009 to 2025 records, Fundacion Sansó has allocated over PHP177.7 million directly to the Filipino art community,” stated Tenie Santos, assistant director of Fundacion Sansó. “These initiatives are largely self-funded through our internal sustainable programmes,” Santos continued. She revealed that 98 per cent of their operational and grant funding is generated through their museum shop, authentication services and special projects, with donations accounting for only two per cent. The foundation also launched the ScholarSip Cafe, a concept café in San Juan that was named one of the top 50 cafes in Metro Manila within six months of operations.
The foundation’s initiatives include a research grant that has supported papers by Pauline Alvarez, Mell Urbano and Jose Santos Ardivilla. Furthermore, through The Embrace Project, a non-governmental organisation partnership, they provide art therapy and fundraising for medicine for paediatric cancer patients. Recently, they awarded thesis production grants in partnership with the National Artist Abdulmari Imao estate, granting PHP50,000 to six students from the University of the Philippines Department of Studio Arts.
Above Juvenal Sansó’s ‘Of Grace’, circa 1980s, acrylic on canvas, donation of Jack Teotico (Photo: courtesy of Fundacion Sansó)
Juvenal Sansó’s ‘Of Grace’, circa 1980s, acrylic on canvas, donation of Jack Teotico (Photo: courtesy of Fundacion Sansó)
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To summarise the foundation’s core mission, Santos shared a quote from the master’s own book: “My aim is education. I hope I can provide art education to the art-loving public as well as scholarships to deserving artists. I think artists is what I can help teach them. I don't think I can teach them to be pilots.”
Representing the many beneficiaries of these programmes was Gwen Dionisio, a Fine Arts graduate from Bulacan State University. “For Mr Sansó, this was never just about financial aid,” stated Dionisio. “It was about breathing life into dreams,” she added.
Above Juvenal Sansó’s ‘A Victim’ (1956), tempera on paper, from the Marlon Basilio collection (Photo: courtesy of Fundacion Sansó)
Juvenal Sansó’s ‘A Victim’ (1956), tempera on paper, from the Marlon Basilio collection (Photo: courtesy of Fundacion Sansó)
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Dionisio detailed how the scholarship directly changed her life as a student. “Before this, I could only afford acrylic paint,” confessed Dionisio. “But they funded me to buy my very first oil paint,” she shared, noting how this specific support transformed her artistic journey. She also spoke on the emotional impact of his work, observing that his ability to witness the trauma of war and still find grace and the beauty of hope is nothing short of miraculous.
Ultimately, the exhibition and the turnover ceremony solidify an enduring legacy. While the artist achieved massive success across Europe, his ties to the Philippines shaped his identity, his art and his philanthropy.
“He may not be a National Artist, but he surely is a nationalistic one,” asserted Francisco. “In many ways, this exhibition is the Philippines finally welcoming him as one of our own,” he concluded.
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Franz writes about the local cultural scene and rediscovering the country’s storied past and rich heritage. He earned his bachelor’s degree in Journalism from the University of Santo Tomas and is currently pursuing a master's degree in Art Studies at the University of the Philippines Diliman. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright. But above all this, this Aether main spends more time in Teyvat than anywhere else.
