In the gendering of the fine arts in postwar Philippines, men are the artists while women are the patron of the arts. Art patronage coincided with women's ascribed 'space' behind the scenes leaving the center stage to the artists. This essay explores the role and impact of women as patrons through case studies of former First Lady Imelda Romualdez Marcos, Art Association of the Philippines President Purita Kalaw Ledesma, publisher Gilda Cordero Fernando, and those women in such bureaucracies as the Cultural Center of the Philippines and the National Commission for the Culture and the Arts. Empowered by their roles as patrons, these women have succeeded in giving direction to the arts and in promoting their views on the debates about national identity. In this sense, the fine arts in the postwar Philippines can be said to have become feminized.