What better way to make National Artist for Visual Arts Carlos “Botong” V. Francisco known to the new generation than through a comprehensive art book on his life and works set to be launched in August.
“The Life and Art of Carlos V. Francisco,” published by the Vibal Foundation, Inc. aims to rekindle interest and pride for Botong and his works, especially among the younger generation of Filipinos who may not even be familiar with him.

One of the country’s greatest painters and muralists, Botong is best known for his masterpieces such as the “Fiesta” in Malacanang, “Code of Kalantiao” (private collection), “Blood Compact” (Yuchengco Museum / RCBC Building), “First Mass at Limasawa” (National Museum), “The Martyrdom of Rizal” (Fort Santiago), “Bayanihan sa Bukid,” “Stations of the Cross” (Far Eastern University), “The Invasion of Limahong,” “Serenade,” “Muslim Betrothal,” and his biggest mural “500 Years of Philippine History (Manila City Hall).

THE GENIUS THAT IS BOTONG

Spearheaded by Vibal Foundation, art historian Patrick Flores, and the Francisco family, the book project seeks to recall the genius of this ordinary man whose historical works celebrated national identity and the greatness of the Filipino.

“Botong had a great sense of epic. He was able to play up the turning points in history, such as struggles against the colonial forces and moving towards modern time, as he told a sprawling story of Philippine culture,” says Flores.

The book features his most popular works and scholarly essays on his art and style by renowned art historians D.M. Reyes, Alice Guillermo, Roberto Paulino, and Ino Manalo.

In an excerpt from Ino Manalo’s essay “Angono: Hometown as Subversion in the Work of Carlos V. Francisco”, it notes that “the work of Botong may actually have been a response to this sense of disassociation and distancing.

For the intimacy of detail that he brought to his works provided “visible markers” which spoke to viewers of the vibrancy of community life even as it recorded local anecdotes and the multiplicities as well as subtleties of specific habits and customs.’’

Manalo writes that Botong was able to create incredibly vivid works by drawing inspiration from his environment - his hometown in Angono- which he knew very well, even to the point of getting involved in his neighbor’s lives. One of these is best depicted in his “Fiesta” mural.

“The fiesta is not just a mass of merrymakers as in other depictions. More meaningful details are shown, uncovering the dense complex of activities and, subsequently, of meanings behind the celebrations. In this way, distancing and disassociation are vanquished by nuance,” writes Manalo.

BOTONG AND TOTONG

A more personal account on Botong’s life and role as a doting father to his children and well-loved son of his hometown Angono is written by his own grandson, Carlos Gil “Totong” Francisco II.

In his essay, 37-year-old Totong reveals how he grew up learning about his grandfather and developing a deep respect and admiration for him whom he never had the chance to meet, through countless anecdotes from the family and Botong’s closest friends. He likewise narrated how he later on inherited the talent of his grandfather but went on to find his own identity as an abstract painter.

The book, edited by Flores, is a new addition to VFI’s Art Series of imprints. The Life and Art of Carlos V. Francisco, along with another book dubbed “Francisco V. Coching,” also edited by Flores will be launched on Aug. 19 in an art exhibit at the National Museum in Manila.

Entitled “Telling Modern Time,” the exhibit will feature some of the paintings of Botong and Coching, a popular komiks illustrator whose work is said to share some similarity with the muralist’s style.

BOTONG IS ANGONO

Getting to know Botong would not be complete without tracing his roots in Angono, Rizal. A visit to his modest two-storey abode today would reveal the simple but meaningful life that the artist lived, and his working space-turned-mini-museum containing his World War II memorabilia as well as his collections from church relics and religious garment to medals, shoes and hats. There are also rare pictures of him taken by his photographer friend Dick Baldovino.

It is ironic though that the only works of Botong left with the family are several sketches, a watercolor painting and an unfinished work still on his easel.

These are all for sale now, the proceeds of which will be used to continue the much-needed renovation of their ancestral house, says Totong. Botong’s three children are spearheading the project with help from the municipal government of Angono.

One of the most striking traits of Botong, according to his apprentice and daily companion Salvador Juban, is his down-to-earth and humble character that has kept him grounded despite his growing popularity as a painter.

Botong who was always in Cordoroy pants and white T-shirt would be visited by his prominent clients in his home including former First Lady Imelda Marcos. But Botong remained the simple man that he was and the neighbor that everybody loved. Juban recalls that Botong would even be mistaken for somebody else by Marcos’ security aide and even by some of his clients and organizers of public
functions where he was the special guest.

“He walked with kings but never lost the common touch,” Juban quotes one teacher saying.

He adds that during one graduation ceremony where Botong arrived early, he even helped carry the chairs that would be used for the event, and later on accepted the apology from an embarrassed organizer. This, Juban says, happened too often but Botong was just amused with the situation.

Before becoming a production designer at LVN Films, Botong, a University of the Philippines fine arts undergraduate, taught for a while at the University of Sto. Tomas. But he left the teaching vocation
because he didn’t have the heart to discourage wannabe painters who didn’t have talent to change interests, says the 68-year-old Juban. He adds that Botong respected young artists and pushed them to excel like what he did to him.

This humble nature of Botong is the most important lesson his grandson Totong and Juban treasure to this day.

“My lolo has been offered many times to work or study abroad but he never left Angono. Sabi niya ‘bakit pa ako aalis, dito lang sa Angono marami na kong nakukuhang inspirasyon,” Totong recalls, adding that Botong’s neighbors, friends and relatives were the subjects of his paintings.

But with all his accomplishments, Juban says it is just fitting to recognize the fame he earned for his hometown of Angono, whose artists today drew inspiration from him but have made a name for themselves.

“Sabi nga ni Anding Roces sa isang speech ‘Botong is Angono, Angono is Botong.’
Because of Botong and his paintings, nakilala ang Angono at itinaas niya ang mga fishermen, at mga tao dito. Kahit may mga magagaling na pintor na dumating ngayon iba pa rin si Botong, hindi siya malilimutan ng mga taga Angono,” concludes Juban.