1946 Born July 24 in Ambalayat, a barrio of the town of Tagudin, Ilocos Sur, the youngest of five children of Eugenio Lamarrosa, a rice miller, and Eladia Leal. Nicknamed "Amor" from his second given name, Villamor.
1953 Became interested in art, truant in school. Frequents the banks of the river Chico and Amburayan that flanked the village.
1956 Moved to Makati with newly widowed mother. Entered St. Vincent Elementary School; transfered later to Makati Elementary School.
1959 Entered Pio del Pilar High School in Novaliches after his mother sold the house in Makati and built another in Baesa, Novaliches.
1963 Enrolled at the University of Santo Tomas where he got a scolding from Prof. Diosdado Lorenzo for his rendition of a nude in blue.
1965 Won third prize for a still life in a university-wide art competition.
Won third prize with his entry, Girl with a Butterfly, in the 15th Shell Annual.
Won second and third prizes in the Atelier Camera Club competition.
1966 Won third prize in the UST Annual and second prize in the 16th Shell Annual.
1967 Transferred to Philippine Women's University (PWU); participated in a group exhibition mounted by Dean Mariano Madarang at the Silverio Building in Makati.
1968 Garnered third place in an on-the-spot competition sponsored by the Philippine Medical Association (PMA).
Joined Raul Isidro and Raul Lebajo in a three-man exhibitionentitled "Dimensions III" under the auspices of PMA. The exhibit later on moved to the Hidalgo Gallery.
Recieved the "Most Outstanding Art Student" award from PWU.
1969 Represented the Philippines in the Tokyo Biennial under the sponsorship of F. Sionil Jose's Solidaridad Galleries.
1970 Bagged the grand prize in the ITT's First Worldwide Corporate Advertising Campaign in New York.
Joined seven other artists who called themselves "Contours Eight" in an art exhibition at the Manila Hilton Art Center on September 4.
1971 Presented his first one-man exhibition of metal and polymer paintings at the Solidaridad Galleries (corner Remedios and M.H. del Pilar, Malate, Manila) from January 20 - February 5.
1972 Featured in the book, Contemporary Philippine Art, by Manuel D. Duldulao with his plate, The Neon Hour.
1973 Held his second solo show at Solidaridad, featuring a collection of elaborate frames that contained nothing but empty space, a Dadaist commentary on collectors who place more value on the amenities that surround art than the work itself.
Won Second prize in the Mobil-AAP Annual with Manila 70's, stirring a war of words between critics, particularly in Alfredo R. Roces's column, "Ligth and Shadow"
1974 Mounted his third one-man show at the Solidaridad Galleries.
Held his fourth solo exhibition on the subject of "Population Explosion", organized by Manuel D. Duldulao for the Quad Gallery. Guest of honor: Alfredo R. Roces.
Joined Restituto Embuscado in a two-man exhibition at the Miladay Art Center.
Won second prize at the AAP Annual. Included in the ITT International Exhibition held at the Miami Art Center in Florida.
1975 August 12 - 26: Lamarroza exhibited the "Amburayan Series" at the Solidaridad. In November, the series was shown at the Metro Gallery under the sponsorship of Odette Alcantara. The sixth one-man exhibition showed Lamarroza broadening the scope of his canvas and venturing into different colors and symbolic figures in a distinctive style he called "Multiple Images".
1977 February 14 - 28: Unveiled the Amburayan Queen at six in the evening of Monday at the Metro Gallery, LorCalma Building, Paseo de Roxas, Legaspi Village, Makati.

Angel G. de Jesus, writing for Business day, found it "difficult, after seeing the twenty-five paintings, to forget the woman of Lamarroza. Their hypnotic and enigmatic eyes keep haunting you. They are indeed... eternal woman forever asserting herself. They challenge the assumed superiority of man, but like Cleopatra, they also ensnare him. They are the eternal Eve who caused the fall of Adam."
Leonidas V. Benesa, writing for the Philippine Daily Express, called lamarroza's women "portraits of the great martriarchs - the Gabriela Silangs and the Princesa Urdujas - of his race, and, mutatis mutandis of the Filipino people."
1978 Recieved the "Sadiri ti Tagudin" award along with singer Evelyn Mandac.
Included in a major group exhibition, "Insights into Contemporary Philippines Art," held in Manila and New York.
1979 May 1 - 19: Exhibited his ecological landscapes at the Heritage Art Center (300 P. Guevarra St., San Juan Metro Manila). Amadis Ma. Guerrero, reviewing the show for The Times Journal, was aghast at how "the divinities have forsaken the Amburayan River... Lamarroza unveils a dismal but wondrous sight: wastelands; arid plains, dried rivers; leafless, gnarled and twisted trees; and rotting trunks."
Malacañang donated 300 seedlings of the giant ipil and narra trees to be distributed among the guests on the opening day, in connection with the government's campaign for the "Greening of the Countryside."
1980 August 14 - October 31: Included in the major group exhibition "Philippine Paintings Old and New" at the Hague, Netherlands. Previewed at the Museum of Philippine Art in the last week of July, the show comprised 61 works by 44 artists, among them Juan Luna, Felix Ressurection Hidalgo, Fernando Amorsolo, and the Neo-Realists. The young generation was represented by Angelito Antonio, Bencab, Onib Olmeda, Santiago Bose, and eight other painters.
Adjudged one of the semi-finalists in the 1980 Mobil Art Awards.
In her book documenting what she called a "first-of-a-kind event," Alice Guillermo listed Lamarroza, along with Bose, Abdulmari Imao, and Jaime de Guzman as "Artists Beyod Categories."
1982 Placed second to Manuel Rodriguez, Jr. in the Mobil Art Awards. The other finalists were: Paz Abad Santos, Lao Lian Ben, and Tam P. Austria. Joined the Gallery Genesis group of residents until 1986.
Given a one-man show by Gallery Genesis entitled "The Expressions of Lamarroza". Appeared on the cover of the Filipinas Journal in its Volume III issue. The cover story titled "The Artist as Ecologist," written by Emilie Mae F. Quimpo, ran for seven pages, illustrated with six plates, including the mural-sized The Joyous Kingdom.
1983 Recieved the Patnubay Kalinangan Award for Painting from the City of Manila.
Featured on the cover of Who Magazine in its January 19 issue. In her cover sto ry titled "Journey to Amburayan," Margie T. Logarta described Lamarroza as "dark as the bua, a native betelnut chewed and relished by the old folks in his hometown along the banks of the Amburayan River in Tagudin, Ilocos Sur. Where he comes from, nowhere are sun, sky earth more palpable, blending together in an intense combination to sear the senses. It is forever summer in the land and among the people of artist Prudencio Villamor Lamarroza."
1984 Participated in the Genesis exhibition "The Images of the Filipina."
1985 August 31, Saturday: Held his ninth solo exhibition, "Myth and Magic in the Image of Woman," at the main gallery of Genesis Banco de Oriente Center, 718 Shaw Blvd, Mandaluyong, Metro Manila). Guests of honor: Ms. Maria Luisa Reyes Llamado and Dr. Genaro Yusi.
Joined the 4th Asean Convention exhibition of paintings and photographs and the R.P.- U.S. Business Development Council art exhibition which toured Washington, D.C., Chicago, Seattle, and Honolulu under the auspices M&R Gallery, Hawaii.
1986 Represented the Philippines in the Baghdad International Festival of Arts in Iraz and proceeded solo to the Iraqi International Art Exhibition.
Presented his tenth one-man exhibition of paintings and photographs at the Diviana Gallery in Greenhills.
1987 Participated in the Ecology exhibition at the Cultural Center of the Philippines (CCP).
1988 Held his twelfth one-man show. "New Pages" at the Heritage Art Center. (6 St. Wiliams cor Lantana, Cubao, Quezon City) from November 19 to December 2.

Joined a group exhibition, "FIlipino Artists," organized by M&R Gallery Hawaii.
1989 Held his thirteenth solo exhibition, "Trees and Fish Tales," which opened at the Lopez Museum on October 16, and at the Ayala Museum on October 26.

Interacted with young artists who interpereted his photographs at the Ayala Museum. Participated in a group exhibition, "Master's Pieces," at the Madrigal Art Center in Alabang.
1990 Participated in two group shows: "Ecology" at the Ayala Museum; and "Etnika" at the National Museum.
1991 Teamed up with PWU colleague Raul Isidro and UST classmate Romeo Gutierrez for a three-man show, "Dimensions V," at the Hotel Intercontinental in Makati.
1992 Held another solo exhibition, "Photo Montage," at the Heritage Art center.
Joined the "Shell Winners Reunion," exhibition at Shangri-La Plaza and "Treeshirts" at the Ayala Museum.
Featured in Art Philippines, Chapter V, "Pluralistic Expressions," written by Jeannie Javelosa and Paul Zafaralla.
1993 Held two solo exhibitions: "Nature Trasnsformed I," his fourteenth, at Victoria Plaza, Davao City; and "Nature Trasnsformed II," his fifteenth, at the SM Art Center, from October 11-24. Included in his show were white-on-white pieces made of Pinatubo ashfall and lahar washout.
Guested in group shows mounted by the ALegria Work and Decor group at the Manila Peninsula and in Cagayan de Oro City.
1994 Participated in a tour organized by ALegria Work and Decor which covered the cities of Washington, D.C., Los Angeles, Chicago and Detroit in the U.S.A.,; SIngapore, Jakarta, Penang, Kuala Lumpur, and Hongkong in Asia,; and Olongapo, Bangued, Vigan, and Manila in the Philippines.
1995 Joined group exhibitions held at the Philippine National Bank, Robinson's Galleria, and in the cities of Davao and Cebu.
Held one-man exhibition, featuring themes from Nature Transformed, Amburayan Queen, and Riverstones, at the Pre-Metodhist Gallery Hall in Chelsea, England, under sponsorship of the Department of Foreign Affairs.
Continued work on video art and notebook collages, installation of found objects, and video-light-music.
Appeared on the cover of Twentieth-Century Filipino Artists, Volume II, by Manuel D. Duldulao. The asrtist's chronology covered twelve inside pages, featuring 15 plates.
1996 Joined Anna Fer and Aro Soriano for an exhibition, "Three Filipino Artists in London," under the sponsorship of The Economists, a leading publication on global issues. Held in November, the show was curated by Jun Terra, a London-based Filipino poet and painter, and David Bain, Southeast Asia editor of The Economists Intelligence Unit. According to David Bain, head of the Economists art committee, "The Filipino artists we have chosen to invite are highly regarded and are known for the social, ecological, and ethnic motifs in their works."
1998 Mounted two solo exhibitions: "Boundless Realms" at the Art Venue Gallery; and "Diwata"at Gallery Nouveau.
In his introduction to the exhibition brochure prepared for Lamarroza's "Boundless Realms" exhibition, Emmanuel Torres had this to say: "Lamarroza's landscape is unlike anything ever seen except in dream. Much of its abstraction, inspired by plane geometry or pattern art, but it is also recognizably representational although hopped up. For one, the air is lucid, crystalline. For another, there is consonance of earth, trees, rivers and mountains that amounts to the state of euphoria expressed in bright, multiple colors and sensuous organic life forms. As always there is an extensive horizon lines that acts as a steadying influence to the dazzling, polychromatic effects; invariably, a range of hills and mountains roll softly in the distance blanketed by luminous mist."
1999 Held three solo shows: "Drawn Dreams" at the Metropolitan Gallery; "Notes in the Millenium" at the CCP Little Theatre; and "Seasons", also at the Metropolitan.
2000 Selected as one of the "Thirteen Painters for the 21st Century" by Sikat Books. The essay on Lamarroza was weritten by Anthony John R. Riblis.
2001 Held one-man exhibit which broke new ground: "Landscape in Memory" at the Metropolitan Gallery.
In his essay written for this catalogue, Edgar B. Maranan found it obvious, looking at Lamarroza's new landscapes, "that while tiny wisps and strips of whimsical color manage to find their place in the serene topography of his fields and mountains, the general atmosphere evoked is certainly not of the pastoral, but one of closely observed quotidian existence in the countryside or hinterland, detached without being remote, with just the subtlest of foreboding and even a note of disquiet. There is not the cheery airiness or radiance of classic impressionism, but rather a more subdued, somber-hued view of the rural scene, its rotes and its seasons."
2002 Held a special collection of his pattern paintings on the last week of July (until August 4) at Gallery Nine, SM Megamall.
In his review of the show, Johnathan Libarios Rondina, writing for the Philippine Daily Inquirer, contended that "His (Lamarroza's) compositions have often been described as surreal, but Lamarroza's fields of dreams can also be viewed as extraterrestrial landscapes, the artist's own private vision of Eden, an expression of hope and possibilities for a worls that can still be, as much as they are remembrances of things of things and places past"
2003 Visited parts of Asia, Europe, United States, and South America, often with the Tan Family and close friends.
2004 Began his series of "organic" drawings.