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Lot Essay
'For those who wished, Bali was indeed a paradise, but a very human one. Into this complex, intense, and very foreign world Willem and Maria Hofker arrived at the beginning of 1938. Here, they and their art flourished and took root, convincing them that they had found their final home. Unknowingly witness to the end of an era, in a sense the Hofkers found and lost their paradise, suffering the horror of a Japanese internment camp and permanent separation from their beloved island, only to discover that it lived on within them and their art. Their legacy is a precious series of paintings and stories, recreating the magic kingdom of Bali through the eyes of the artists.' - Bruce Carpenter, Willem Hofker, Painter of Bali, Pictures Publishers, The Netherlands, 1993, p. 13.
These words by the author aptly capture the essence of the artist's work in Bali. Just a few days after their arrival in Bali, the Hofkers saw the impressive and well known ceremony whereby the ashes of the deceased were cast into the sea off the Sanur coast to be protected by the ocean; the ceremony left the Hofkers in awe and a deep seated respect of the Balinese culture and tradition, a sentiment which the artist thereby strove to express through his works.
Just like his fellow artists luminaries Covarrubias and Le Mayeur who were both fascinated with the graceful and beautiful Balinese girls, Hofker also constantly depicted them on canvas as well as in drawings. However, unlike Covarrubias' stylised renditions and Le Mayeur's impressionistic representations, Hofker studiously painted in the style of the Western Classicists which revealed his training from the Haagse Academie van Beeldende Kunsten, the Hague Academy of Fine Art. His superb draughtsmanship is particularly evident in his drawings, while the dark tones and profound perspective found in his oils are a direct influence from the Hague School. Portraiture was central in the academic tradition in art and that served Hofker well as his disposition to document his travels of new sights, cultural life, and people - and was matched by his artistic abilities.
Executed in 1942, Poeri Oeboed with Made Toewi (Lot 20) is an elegant painting awash in rich colours with a warm, soft and gentle glow. This was painted at a time when the Japanese just invaded the island of Bali, and this work shows the majestic nature of the Oeboed (Ubud) Palace in Bali, reflecting his love for the island, its culture and its people. The work radiates a sense of peace and harmony. The viewer's eyes are drawn in to the figure and the reserved posture which in actuality enhances the beauty of the female subject. This work also demonstrates one of his favourite themes of his paintings in Bali - the contrast between the backdrop of the stately temple architecture with the smaller female form.
Hofker also demonstrates a rare sensitivity in depicting the girl Ni Made Toewi. His model, which he used frequently in his work, and her posture is characteristic of Hofker's work, where he often portrayed his subjects with eyes downcast in a reflective gaze. This work is an excellent example in Hofker's distinguished oeuvre. Its rich warm colours and sense of quiet reflection and peace are perhaps harking back to a more peaceful time given the turmoil in the island back then.
These words by the author aptly capture the essence of the artist's work in Bali. Just a few days after their arrival in Bali, the Hofkers saw the impressive and well known ceremony whereby the ashes of the deceased were cast into the sea off the Sanur coast to be protected by the ocean; the ceremony left the Hofkers in awe and a deep seated respect of the Balinese culture and tradition, a sentiment which the artist thereby strove to express through his works.
Just like his fellow artists luminaries Covarrubias and Le Mayeur who were both fascinated with the graceful and beautiful Balinese girls, Hofker also constantly depicted them on canvas as well as in drawings. However, unlike Covarrubias' stylised renditions and Le Mayeur's impressionistic representations, Hofker studiously painted in the style of the Western Classicists which revealed his training from the Haagse Academie van Beeldende Kunsten, the Hague Academy of Fine Art. His superb draughtsmanship is particularly evident in his drawings, while the dark tones and profound perspective found in his oils are a direct influence from the Hague School. Portraiture was central in the academic tradition in art and that served Hofker well as his disposition to document his travels of new sights, cultural life, and people - and was matched by his artistic abilities.
Executed in 1942, Poeri Oeboed with Made Toewi (Lot 20) is an elegant painting awash in rich colours with a warm, soft and gentle glow. This was painted at a time when the Japanese just invaded the island of Bali, and this work shows the majestic nature of the Oeboed (Ubud) Palace in Bali, reflecting his love for the island, its culture and its people. The work radiates a sense of peace and harmony. The viewer's eyes are drawn in to the figure and the reserved posture which in actuality enhances the beauty of the female subject. This work also demonstrates one of his favourite themes of his paintings in Bali - the contrast between the backdrop of the stately temple architecture with the smaller female form.
Hofker also demonstrates a rare sensitivity in depicting the girl Ni Made Toewi. His model, which he used frequently in his work, and her posture is characteristic of Hofker's work, where he often portrayed his subjects with eyes downcast in a reflective gaze. This work is an excellent example in Hofker's distinguished oeuvre. Its rich warm colours and sense of quiet reflection and peace are perhaps harking back to a more peaceful time given the turmoil in the island back then.