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拍品專文
For Sudjojono, art was a representation of truth. From his detailed depictions of the Indonesian landscape, to his surrealist compositions that included complex layers of meaning and symbolism, Sudjojono sought to express the intangible soul of his subjects. Painting numerous portraits of his family members as well as individuals from everyday life in Indonesia, the portrait was for Sudjojono an examination of the sitter's soul, and his task to represent it.
By 1970, Sudjojono was firmly established as one of the foremost modern Indonesian painters, and it is with a quiet confidence that he gazes out of the painting, observing the viewer with his critical eye. Dressed in a formal Western suit and tie, Self-Portrait depicts Sudjojono at a point of personal accomplishment. Despite portraying himself in a frontal position, half his face is obscured by shadow; and Sudjojono challenges a superficial reading of the painting. Self-representation only exists in moments of observation, and is often dictated by societal norms and expectations. Self-Portrait is hence an inward examination of outward appearances, and allows us a brief glimpse into the artist's "visible soul".
By 1970, Sudjojono was firmly established as one of the foremost modern Indonesian painters, and it is with a quiet confidence that he gazes out of the painting, observing the viewer with his critical eye. Dressed in a formal Western suit and tie, Self-Portrait depicts Sudjojono at a point of personal accomplishment. Despite portraying himself in a frontal position, half his face is obscured by shadow; and Sudjojono challenges a superficial reading of the painting. Self-representation only exists in moments of observation, and is often dictated by societal norms and expectations. Self-Portrait is hence an inward examination of outward appearances, and allows us a brief glimpse into the artist's "visible soul".