The central peak of he painting is a matron, struggling with a Japanese soldier. She is grasping a knife, trying to defend herself, with her breasts exposed. Behind the rapacious soldier is a mauled man who appears to be the patriarch to the Tamil. He has helplessly fallen to the floor, pitilessly bayoneted by another soldier. A baby in a crib on the left side is crying and defenseless. In the upper left part, an altar with dangling rosaries is situated on one side, mute and helpless, Outside the open window appears what seems to be a crown of a banana tree, hiding the fire and consternation happening outside.
The painting mouse the eye of the ewer from one point to the other. The story starts with the foreground showing a “past” incident where the character is already dead. Next point of the eye is the “current” wherein the struggle is occurring between the matron and a Japanese soldier. Then the “future” State Of the mind is tickled in the third point Of the painting wherein the viewer would think if the subject would meet his demise or not.
The main characters or the human subjects in the painting are emphasized by using thick brush strokes and earth colors that gives more life to the painting. The main colors used are yellow, vermilion, and fiery orange for the background ND skin tones of the subjects. Contrasting these colors are the greens and blues used on the military uniforms of the soldiers. Lorenz defined other elements in the painting like the crib, cross on the wall, the window as well as the chair with clear straight lines making the painting easy to look at and understand.
It also makes the painting full and with less vacant space. The weight of the painting is contained until the middle third. As for the top most part, it is full vacant space with just shades of browns which give the setting and the height to the artwork. Contextual Analysis Being one of the original 13 moderns of the Philippines, Doodads F
His works are characterized by outstanding impressionism and were very different from the works of most painters of his time. He applied paint liberally without smoothing the surface out. Instead, he let the paint dry, giving the painting a rough surface, and his work a three- dimensional look. His technique Of using confident brushstrokes and warm, tropical colors like orange, vermilion, and yellow enable his works to transcend mime and radically contravene the conventional technique Of the application Of paint.
On December 8, 1341. 10 hours after the Japanese had attacked Pearl Harbor, the Japanese army took over the Philippines to aggrandize their power. In February 1945, more than 100,000 people died in The Battle of Manila. Men and children were slaughtered, bayoneted, and butchered; women were raped, passed over from one soldier to another, and killed without remorse. During that time, many Filipino artists concentrated their artwork on the aspects of war and had their own representations of the appalling incident.
Lorenz was able o exhibit these unfortunate events through one to his paintings entitled, “The Rape and Massacre in Eremite”, The attribution of the whole painting, as the title connotes, is a gruesome scene of a family being remorselessly massacred by Japanese soldiers during their occupation of the Philippines at the time of the Second World War. Eremite was one of the places eviscerated during The Battle of Manila. Countless establishments, and their accompanying treasures dating to the founding of the city, were ruined. Manila was virtually wiped out. Lorenz was able to portray the horror and chaos happening during those times.
