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During the decades after the Japanese Occupation in the Philippines, emerged a the surge of Neo-Realism with its main proponents from the Modern Thirteen. The horror and devastation of the recent war as well as the wide exposure to the developing "isms" in the West prompted the group to go further than Edades's heavy-handed, Post-Impressionist oriented and Art Nouveau mural fantasies. This is the epoch when the break with the genteel tradition of Fabian de la Rosa and Amorsolo is completed."Arguilla, the artist has once described the original Neo-Realists as 'six of the most aggressive modern ... who insisted on the reality, not of objects and subject matter, but of relationships.' Relationship is a key word in understanding what their movement was about: it refers to the way line, colour, shape, texture and space interact - establishing points of movement and rest, tension and relaxation, in the design of a painting, The group regarded 'plastic reality', rather than 'realistic representation', of paramount importance. How a work holds together as design was all that counted, not a reproduction of familiar reality in every detail as the eye sees it." (Art Philippines, Juan T. Gatbonton, Jeannie E. Javelosa and Lourdes Ruth R. Roa ed., the Crucible Workshop, 1992, Manila, p. 118.). Thus, with the emergence of the neo-realist movement, foundations were laid for a new tradition to which later generations could look forward.