Critical Evaluation
Amorsolo's supporters consider his portrayals of the countryside as "the true reflections of the Filipino Soul."
Amorsolo has been accused, however, of succumbing to commercialism and merely producing souvenir paintings for American soldiers. Critic Francisco Arcellana wrote in 1948 that Amorsolo's paintings "have nothing to say" and that they were not hard to understand because "there is nothing to understand." Critics have criticized Amorsolo's portraits of Philippine Commonwealth personalities, his large, mid-career anecdotal works, and his large historical paintings. Of the latter, critics have said that his "artistic temperament was simply not suited to generating the sense of dramatic tension necessary for such works."
Another critic, however, while noting that most of Amorsolo's estimated ten thousand works were not worthy of his talent, argues that Amorsolo's oeuvre should nonetheless be judged by his best works instead of his worst. Amorsolo's small landscapes, especially those of his early career, have been judged as his best works, "hold well together plastically." Amorsolo may "be considered a master of the Philippine landscape as landscape, even outranking Luna and Hidalgo who also did some Philippine landscapes of the same measurements."
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