Amir Sidharta

Many works from dating from the 1960s to 1980s in this auction have come from the collections of avid art enthusiasts who have meticulously built their collections throughout the years. As a “ring of fire”, it is only natural that volcanoes and mountains would be one of the most favorite subjects of the artists. In this auction there are two particularly monumental paintings of volcanoes by Siauw Tik Kwie, and other painting of a volcano in the background of a seascape by Dullah. There are also smaller mountainous landscapes by Yudhi, Dullah and Kasenda.

Ida Bagus Nadera

“Spiritual Nature”
In the world of traditional Balinese painting the name of Ida Bagus
Made Nadera is considered a monumental painter. His works are
expressive, and he depicts themes that are almost never repeated. As a
pupil of Rudolf Bonnet and Walter Spies and a member of the Balinese
Pita Maha association of artists established in 1936, he was
interested in applying the principles of modernism in his work. He was
regarded as being the most advanced and intelligent painters of the
group, and therefore he was  also tasked to become a mentor of the
other painters.

His paintings are represented in the collection of President Sukarno
as well as various important museums in Indonesia, as well as in
Europe. Life and his work is recorded in the book “Ida Bagus Made
Nadera, A Balinese Painter of Pita Maha”, written by Agus Dermawan T
(Agung Rai Museum of Art, Bali, 2008).

“Golden Lady”, 2001
oil on canvas, 100 x 80 cm.
References:
Publication: “The Art of Josephine – Prima Donna”, (Linggar AIA
Gallery & Art Foundation, Jakarta, 2001) p. 81

Josephine Linggar is one of the few Indonesian woman painters who have
interest in the depicting the human side of things, which is supported
by her talent and ability in depicting the human anatomy, human
character, and human expression. Born in Jember, East Java, Josephine
was known as a fashion designer, and this is perhaps why she seems to
have placed a special attention on the depiction of the  figure of the
woman. She also has the sensibility in capturing the suitable postures
and gestures, which convey the story of the painting. In the painting
“Golden Lady” a women awaits someone in front of the temple. Her face
was full of hope, while the frangipani flowers seem to comfort her.

Amrus Natalsya
“Siaga Tiga”

In his art work “Siaga Tiga (“Alert Level Three”), Amrus Natalsya
depicts a policeman with three dogs prepared to maintain security,
most likely to secure a demonstration that might threaten the
“national security”. The strength of the work is the unique theme of
the painting, which has never been repeated again by the artist. Amrus
is very familiar with of the issue of national security, especially
when he was imprisoned due to his involvement in politics. Born in
Natal, North Sumatra, Amrus is among the strongest of Indonesian
artists. He deliberately chose wood for his paintings because he is
able to best expressive himself through this medium.

“Reflections Arupadhatu”
Ogeng Heru Supono is painter who explored the iconography of the
Borobudur temple thoroughly. He captured the spirit of the 9th century
reliefs, and depicted them with his own aesthetics and in a new and
modern composition. In the 1980′s this was the characteristic subject
matter of this paintings.  In 1984, he was even considered among the
top Indonesian painters (Kompas, August 12, 1984).

“Unjuk Muka Unjuk Perkara”, 2011.
Chinese ink, acrylic on canvas, 30 x 25 cm. (4 panels)

Exhibition: Prada Ribbon Bali Traditional Painting Biennial 2009, Museum Neka,
Ubud, Bali.

Publication:  ”Pita Prada – Golden Creativity” (Agus Dermawan T, Jean
Couteau, Wayan Kun Adnyana), page 78.

Wayan Jumu is a unique Balinese painter. In the beginning, he embraced
traditionalism. Then wanted to become a modern painter, so he attended
the Intermediate School of Fine Arts (SMSR) in Ubud. However, later he
saw that the traditionalism of Bali was actually so alluring, so he
returned to traditional painting. This choice was strengthened when he
befriended famous artist Ketut Budiana.

This painting is one of Jumu’s great achievement, because it is
presented in a form that is reminiscent of a four panel comic strip.
He was praised for this work. “The works by Jumu shows subtlety and
thoroughness. Therefore, although the themes that he rendered tend to
appear creepy, the visualization is beautiful. (“Bali Bravo, Lexicon
of 200 years of traditional Balinese Painters “, Bali Bangkit
Foundation, Jakarta 2007). Jumu traditional painting is also
recognized in the forum of contemporary art, so it appears as a
finalist Jakarta Art Awards, UOB Art Awards, and others. Jumu born in
Ubud, Bali, 1959.

Having lived with Affandi for decades, painting seems to come
naturally for Maryati. During their stay in Europe in the 1970s,
Maryati accompanied Affandi going around to find interesting subjects
to paint. Sometimes, when she considered the subject that Affandi
painted was also of interest to her, she would paint it as well, in
her own unique naive style. While Affandi’s depiction of the Eiffel
Tower is well-known, Maryati’s lesser known version is actually no
less interesting.

Since she was a teenager, Kartika went along with her father, whenever
he allowed her to come along when he was going to paint. She quickly
absorbed her father’s technique, and adopted it as her own. Although
until this day, Kartika Affandi seeems to continue to be under the
shadow of her infamous father, she is actually a painter in her own
right. To Kartika, painting is part of her daily life, and to her,
there is not a day that goes by without painting.
Kartika’s first husband, Sapto Hoedoyo, was also an accomplished
painter who belonged to another prominent family of artists.

The following lots (# 026 to  047) include the works of Affandi,
Maryati Kartika, Kartika Affandi, and Sapto Hoedoyo.
A certificate from Affandi Art Gallery signed by Helfi Dirix,
grand-daughter of Affandi and Maryati, daughter of Kartika and Sapto
Hoedoyo, accompanies the artworks created by the Affandi family
members.