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拍品专文
A TRIBUTE TO INDONESIA : AFFANDI AND GUNAWAN AT THE HEART OF A PRESTIGIOUS COLLECTION
The present group of three paintings by Affandi and Hendra Gunawan have been carefully chosen by a European diplomat who was based in Jakarta from 1971 to 1974. His particular interest in art and music has led him to build an impressive collection of eclectic art reflecting his travels, acquired throughout his various postings in Bombay, Kuala Lumpur, Jakarta, Rio de Janeiro, Porto, Brazzaville, Lagos and Lomé.
Affandi and Gunawan are both highly prominent leaders of modern Indonesian painting. It is no wonder our collector would have been drawn to their work, as Penari Bali (Balinese Dancer) (Lot 30), Horsemen (Lot 31), and Three Women (Lot 32) beautifully depict lively and colourful traditional scenes anchoring Indonesian culture into a larger world map. Christie’s is honoured to present such a coherent group, thoughtfully selected and revealing different aspects of Indonesian heritage.
The two artists’ chance encounter in 1939 would allow for mutual exchange and artistic influence, encouraging a unique blend of Western techniques and Indonesian imagery which would later drive them to lead the Indonesian modernist art movement, together with artist S. Sudjojono, under the shadow of one of the most tumultuous eras of Indonesian history. They lived through the Japanese invasion of Indonesia, saw the conclusion of World War II, witnessed the country’s fight against Dutch occupation and the achievement of independence. This success was followed soon thereafter by interna lpolitical turmoil under Sukarno’s “New Order” regime. It was during this latter period that Hendra Gunawan suffered the most, and had a thirteen-year incarceration as punishment for his involvement in the communist-sponsored Lembaga Kebudayaan Rakyat (known as LEKRA, or the People’s Cultural Association).
The subject matters of Indonesian rural life depicted here highly contrast with the heavy political climate of 20th Century Indonesia... Affandi famously said: 'When I paint, I always want to become one with the object I paint. I lose myself, and then there is a feeling as if I'm going to fight against something.'
Similarly, his painting Horsemen exudes pride in action. His usual lively three-dimensional strokes effectively demonstrate the animal’s vigour and strength, intensified by his scale. Occupying most of the canvas, with his head help up high, a powerful mane and a straight tail, the oversized white horse appears all dominant, attracting full light on his muscular body. As a result, his rider seems to blend in with the darker background, as if disappearing from the composition, and one finally notices other horseback riders in action in the distance.
Both Affandi and Gunawan continuously sought to translate the inner essence and qualities of their subjects, and craved to additionally convey their own emotions into the painting. The selection of these three exceptional paintings particularly demonstrate the importance of local customs and traditions as a tool for personal identification and pride. Through their eyes, the mundane is depicted as a valuable human experience, a moment worth looking for as it defines a people and core cultural values, and therefore guarantees posterity. It is no coincidence then that these paintings would have been chosen by our collector to accompany him subsequently throughout his life as a way to commemorate his time in Indonesia.
The present group of three paintings by Affandi and Hendra Gunawan have been carefully chosen by a European diplomat who was based in Jakarta from 1971 to 1974. His particular interest in art and music has led him to build an impressive collection of eclectic art reflecting his travels, acquired throughout his various postings in Bombay, Kuala Lumpur, Jakarta, Rio de Janeiro, Porto, Brazzaville, Lagos and Lomé.
Affandi and Gunawan are both highly prominent leaders of modern Indonesian painting. It is no wonder our collector would have been drawn to their work, as Penari Bali (Balinese Dancer) (Lot 30), Horsemen (Lot 31), and Three Women (Lot 32) beautifully depict lively and colourful traditional scenes anchoring Indonesian culture into a larger world map. Christie’s is honoured to present such a coherent group, thoughtfully selected and revealing different aspects of Indonesian heritage.
The two artists’ chance encounter in 1939 would allow for mutual exchange and artistic influence, encouraging a unique blend of Western techniques and Indonesian imagery which would later drive them to lead the Indonesian modernist art movement, together with artist S. Sudjojono, under the shadow of one of the most tumultuous eras of Indonesian history. They lived through the Japanese invasion of Indonesia, saw the conclusion of World War II, witnessed the country’s fight against Dutch occupation and the achievement of independence. This success was followed soon thereafter by interna lpolitical turmoil under Sukarno’s “New Order” regime. It was during this latter period that Hendra Gunawan suffered the most, and had a thirteen-year incarceration as punishment for his involvement in the communist-sponsored Lembaga Kebudayaan Rakyat (known as LEKRA, or the People’s Cultural Association).
The subject matters of Indonesian rural life depicted here highly contrast with the heavy political climate of 20th Century Indonesia... Affandi famously said: 'When I paint, I always want to become one with the object I paint. I lose myself, and then there is a feeling as if I'm going to fight against something.'
Similarly, his painting Horsemen exudes pride in action. His usual lively three-dimensional strokes effectively demonstrate the animal’s vigour and strength, intensified by his scale. Occupying most of the canvas, with his head help up high, a powerful mane and a straight tail, the oversized white horse appears all dominant, attracting full light on his muscular body. As a result, his rider seems to blend in with the darker background, as if disappearing from the composition, and one finally notices other horseback riders in action in the distance.
Both Affandi and Gunawan continuously sought to translate the inner essence and qualities of their subjects, and craved to additionally convey their own emotions into the painting. The selection of these three exceptional paintings particularly demonstrate the importance of local customs and traditions as a tool for personal identification and pride. Through their eyes, the mundane is depicted as a valuable human experience, a moment worth looking for as it defines a people and core cultural values, and therefore guarantees posterity. It is no coincidence then that these paintings would have been chosen by our collector to accompany him subsequently throughout his life as a way to commemorate his time in Indonesia.