11 Fernando Zobel’s various experimentations and pioneering role in non-objectivism in Philippine painting had a profound influence on the next generation of artists. Before Zobel settled in Spain in 1960 to become a fulltime artist, he left his collection of Philippine modern art to the Ateneo Art Gallery. The collection included prints by European masters that had fascinated and mesmerized the young Pandy Aviado. The young artist also attended Zobel’s lectures on art and contemporary Spanish artists at Ateneo. Years later, Fernando Zobel would purchase the 1965 woodcut Autoretrato for the Ateneo Art Gallery. Aviado’s own work is now included in the collection that got him on the path to printmaking. Aviado also joined an art workshop conducted by Araceli Dans, who he considers as his first art teacher. As one of the foremost art educators in the country, Dans organized the Fine Arts Department at Philippine Women’s University and the art education program at the Ateneo Grade School, coincidentally the two institutions that nurtured Aviado’s art career. In 1960, Araceli Dans founded the Philippine Association of Art Educators with visual artist Brenda Fajardo. Dans is also a major artist who is most renowned for her still life paintings of garden blooms and openwork embroidery, images that require technical dexterity and a fine eye for details and texture. At the end of the art workshop at Ateneo, Dans took the students on an art tour. The last site in their itinerary was at Mabini Street in Manila, where the Contemporary Art Gallery was located. The gallery was where Araceli Dans had her first solo exhibition; she introduced her workshop group to the artist who was running the space. Manuel Rodriguez, Sr. had returned from his study grant in printmaking in the United States and was preparing to move his gallery and print workshop to another location on San Andres Street. Aviado described his first meeting with the man, who is acknowledged as the Father of Philippine printmaking and whom he called Mang Maning. Silkscreen frames and serigraph cards were scattered all over. The designs on the cards were the typical Mother and Child, the man and the carabao, the Three Magi and angels with white wings. There were to me, quite modern in rendition. It was the first time I saw those things. I also saw a press for printing. Mang Maning was introduced and…spoke about his plans about printmaking and how he wants artists and people to understand it more. While he spoke, there was this look that he had, you know, it was as if he was some kind of preacher. It was a spiel delivered by men of vocation.” Aviado later read an article in a weekly magazine on Manuel Rodriguez, Sr. and on printmaking and the medium of lithograph, “etching on stone.” He visited the new place of Rodriguez and proposed twenty pesos per session at the workshop. During his treks to Malate he would take his “obligatory promenade” to Ermita, visiting the Philippine Art Gallery, the Luz Gallery, and various artist studios. The area had a sort of bohemian appeal to the young Ateneo student, similar to how young artists gravitated to Greenwich Village in New York and to the Latin Quarter in Paris.