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Lot Essay
VISUALISING THE SELF: THE SELF-PORTRAIT IN MODERN INDONESIAN ART
The following selection brings together selfportraits by some of Indonesia's most well-known and significant painters within art history including Affandi, Hendra Gunawan, S. Sudjojono, and the vanguards of the Bandung School such as A.D. Pirous, Srihadi Soedarsono, But Mochtar and Abas Alibasyah. Intensely intimate and uniquely distinctive, the self-portrait has always been an important subject for any artist as an exploration of the self and inner psyche, as a close observation of facial expression and emotion, and as an outward representation of the internal self. The following selection presents variations from the abstract and expressive to the classical and the composed – each a rare glimpse into the individuality of each of these modern masters.
For both Affandi and S. Sudjojono, the self-portrait was a subject of frequent depiction and meditation. Affandi's signature gestural style was the perfect means through which to express his varying emotional states and physical appearance at different points in his life. Exhibited in the Indonesian pavilion at the Venice Biennale in 1954, Affandi's self-portrait (Lot 520) stays true to the nature of his painting style with his energetic swirls of paint defining the contours of his face. Accented with vibrant yellow and bright blue impasto, the work exudes the vitality and confidence of a distinguished artist in his middle-age. The deeply psychological dimension of S. Sudjojono's paintings comes to the fore with his self-portrait (Lot 521). Sudjojono frames himself within the comfort of his home, flanked by a portrait of his own wife in the background as he considers himself critically. Sombre in tone and deeply introspective, this is a work that contains layers of interpretation and psychological meaning typical of Sudjojono's works.
Mentored by Affandi and S. Sudjojono during his visit to Jakarta in 1940s, Trubus was known for the portrayal of the dynamic Balinese dancers, and was a key member of the modern art movement in Indonesia. His self-portrait (Lot 526) reveals his artistic maturity at the time, showcasing his painterly skill. The composition as well as the size of the portrait extends the intimacy of the work.
In contrast to Sudjojono's self-representation as a dignified gentleman in formal Western dress, Hendra Gunawan's self-portrait (Lot 522) presents a vastly different approach. Painted during his time in captivity in Kebon Waru prison, the portrait with its characteristically vivid colours was a bold protest against his state of destitution at the time. Hendra's gaze is unwavering and defiant, and while neither realistic in style nor colour, captures a rawness and immediacy of emotion.
The Bandung school of painters embarked on explorations into forms of abstraction that favoured more ordered structures of composition. Its most well-known proponent, Srihadi Soedarsono (Lot 524), conveys the essence of the Bandung school through his portrait, employing an articulate etching technique that achieves in also drawing attention to the material qualities of the painting, and as a reflection of his inner psychological terrain. Known for his distinctive cubist style, A.D. Pirous (Lot 523) explores figuration through his own self-portrait and relies on a moody blending of colour and tone to express emotion rather than depicting a formal likeness. Similarly, Abas Alibasyah (Lot 525) defines himself with quick, rough, strokes, and an intriguing layering of colour.
But Mochtar's self-portrait (Lot 527) translates his favoured use of solid colours and geometric regularity to striking effect. Mochtar colours himself a shade of lime green that while defying reality, succeeds in expressing an inner emotional state.
Painted mostly in the 1960s, these self-portraits represent for each artist a sincere exploration of the self and the effectiveness of their chosen modes of representation, and are a reflection of themselves as individuals, but also suggest a deeper contemplation of universal themes of self and identity. They also offer an outlook to Indonesian modern art landscape in the most crucial period in the history and art in the nation.
The following selection brings together selfportraits by some of Indonesia's most well-known and significant painters within art history including Affandi, Hendra Gunawan, S. Sudjojono, and the vanguards of the Bandung School such as A.D. Pirous, Srihadi Soedarsono, But Mochtar and Abas Alibasyah. Intensely intimate and uniquely distinctive, the self-portrait has always been an important subject for any artist as an exploration of the self and inner psyche, as a close observation of facial expression and emotion, and as an outward representation of the internal self. The following selection presents variations from the abstract and expressive to the classical and the composed – each a rare glimpse into the individuality of each of these modern masters.
For both Affandi and S. Sudjojono, the self-portrait was a subject of frequent depiction and meditation. Affandi's signature gestural style was the perfect means through which to express his varying emotional states and physical appearance at different points in his life. Exhibited in the Indonesian pavilion at the Venice Biennale in 1954, Affandi's self-portrait (Lot 520) stays true to the nature of his painting style with his energetic swirls of paint defining the contours of his face. Accented with vibrant yellow and bright blue impasto, the work exudes the vitality and confidence of a distinguished artist in his middle-age. The deeply psychological dimension of S. Sudjojono's paintings comes to the fore with his self-portrait (Lot 521). Sudjojono frames himself within the comfort of his home, flanked by a portrait of his own wife in the background as he considers himself critically. Sombre in tone and deeply introspective, this is a work that contains layers of interpretation and psychological meaning typical of Sudjojono's works.
Mentored by Affandi and S. Sudjojono during his visit to Jakarta in 1940s, Trubus was known for the portrayal of the dynamic Balinese dancers, and was a key member of the modern art movement in Indonesia. His self-portrait (Lot 526) reveals his artistic maturity at the time, showcasing his painterly skill. The composition as well as the size of the portrait extends the intimacy of the work.
In contrast to Sudjojono's self-representation as a dignified gentleman in formal Western dress, Hendra Gunawan's self-portrait (Lot 522) presents a vastly different approach. Painted during his time in captivity in Kebon Waru prison, the portrait with its characteristically vivid colours was a bold protest against his state of destitution at the time. Hendra's gaze is unwavering and defiant, and while neither realistic in style nor colour, captures a rawness and immediacy of emotion.
The Bandung school of painters embarked on explorations into forms of abstraction that favoured more ordered structures of composition. Its most well-known proponent, Srihadi Soedarsono (Lot 524), conveys the essence of the Bandung school through his portrait, employing an articulate etching technique that achieves in also drawing attention to the material qualities of the painting, and as a reflection of his inner psychological terrain. Known for his distinctive cubist style, A.D. Pirous (Lot 523) explores figuration through his own self-portrait and relies on a moody blending of colour and tone to express emotion rather than depicting a formal likeness. Similarly, Abas Alibasyah (Lot 525) defines himself with quick, rough, strokes, and an intriguing layering of colour.
But Mochtar's self-portrait (Lot 527) translates his favoured use of solid colours and geometric regularity to striking effect. Mochtar colours himself a shade of lime green that while defying reality, succeeds in expressing an inner emotional state.
Painted mostly in the 1960s, these self-portraits represent for each artist a sincere exploration of the self and the effectiveness of their chosen modes of representation, and are a reflection of themselves as individuals, but also suggest a deeper contemplation of universal themes of self and identity. They also offer an outlook to Indonesian modern art landscape in the most crucial period in the history and art in the nation.