Ogeng Heru Supono’s Borobudur

“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).

Art as Political Statements: Lekra artists, including Hendra Gunawan

Lekra (Lembaga Kebudayaan Rakyat) was founded in August 1950 as a
direct response to the socio-nationalist Gelanggang (Arena of
Independent Young Artists) movement established a few years earlier.
Associated with the Indonesian Communist Party, it pushed for artists
and writers to follow the doctrine of socialist realism. After the 30
September Movement (1965), along with the banning of the communist
party, the activities of Lekra ended.
Apart from their political association with the party, artists who
were involved with Lekra created art more as political statements
rather than partisan slogans. Many have depicted historical paintings
that remind us of the struggle of the people during the Indonesian
Revolutionary War (1945-1949). A painting by Tatang Ganar offered in
this auction depicts resting guerillas during the Revolutionary War in
Bandung. It shows a human side of the heroism of the militia. Another
painting depicts a field kitchen during the Revolutionary War.
Although unsigned, the manner in which the figures in the scene are
formed, the use of the medium of oils on paper laid on board, and the
brushstrokes of the artist, clearly show that the painting is a work
by the prominent artist Hendra Gunawan, dating to the period of the
War.

“Unjuk Muka Unjuk Perkara”, by Wayan Jumu

 

“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.

Srihadi Soedarsono’s Enthuasiastic Pendet Dancer

Dancers is one of senior Indonesian painter Srihadi Soedarsono’s
favorite subject matter. He has been painting dancers as early as the
1950s, and painted them in various poses. In some of his paintings, he
depicted the dancers in action, capturing their movement. Sometimes he
also paints scenes during the preparation of the dance, when the
dancers are putting on their costumes or even their make up. On
certain ocsasions the painter seems to have also noticed the attitude
of the dancers waiting patiently for their turn to perform, such as
the dancer in this painting. The Pendet dancer in this work, maintains
the upright posture of her body and the enthusiastic expression of her
face as she walks towards the stage. The orange colors in the
painting’s background, softly complementing the pink, red and white of
the flowers and the figure’s attire, has certainly been purposely
chosen to enhance the positive mood of the painting.

Affandi Family

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Indonesia’s most famous artist, Affandi, was not alone in his world of
art. He is a grand patriarch of a family of artists. Affandi
encouraged his wife Maryati and daughter Kartika to paint, and other
family members have also become artists.

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.

A Tribute to Krijono

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Krijono (Jakarta 1951-2011)

Krijono’s use of bold lines and bright colors are characteristic of his paintings. He applied various colors on his canvases without indicating any attempt of mixing the colors to create new colors. He preferred to use the colors purely, often contrasting them against one another. “I am a painter, not a paint mixer,” he proudly claimed.

Although he studied at the Indonesian Academy of Art (ASRI), Yogyakarta, he has always been close to arts and crafts. His father owned and operated the Harris Art Gallery in South Jakarta. Meanwhile his mother owned a Batik factory. Perhaps his style has been influenced by the techniques of batik. Although batik usually uses earthen tones and subdued colors, there are some batik artists such as Norma Makarim who likes using bright, almost psychedelic colors, and perhaps this has also had some influence on Kriyono’s paintings.

Kriyono has just passed away at the end of November 2011. The four paintings in our auction seems to appear as a tribute to the artist.

Collection of a Pioneering Gallery Owner

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Collection of a Pioneering Gallery Owner

Lots 051 to 066 in our Fine Art Auction on 11 December  are from the collection of pioneering gallery owner. Indonesian collector Joseph Solaiman (Ong Pok Koey) started collecting art since the 1960s and was among the very first collectors of art in Indonesia. After living in the United States, he returned to Indonesia in the late 1980s and decided to continue his passion for fine art by providing an outlet for artists to be able to showcase their works. He established Galeri Santi, named after his dear wife.

Since its establishment and all through the decade of the 1990s, Galeri Santi became an important institution in the development of art in Indonesia and more importantly, in the appreciation of Indonesian art. Joseph Solaiman was able to share his passion for art in such a way that he managed to convince many young collectors to also become passionate about the artistic value of art. To him, collecting art was meant as long term artistic investment, and certainly not about making financial gains from short term buying and selling.

Following Joseph Solaiman’s death in 1999, Galeri Santi continued to operate for a few years. However, without the presence of Oom Jo, as most of the young collectors intimately called him, the gallery was never the same again.

Many of the pieces presented here in this auction are works that Oom Jo had kept dearly as part of his personal collection and have only now been offered for sale. This is a wonderful opportunity to be able to acquire works of true artistic value.

SIDHartA Fine Art Auction, 11 December 2011 Message from Sidharta Auctioneer

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SIDHartA Fine Art Auction, 11 December 2011

Message from Sidharta Auctioneer

In the past two years we have noticed the return of the most serious of collectors of Indonesian Fine Art in embracing once again the works of Modern Indonesian Masters. Indeed, Indonesian Fine Art tells the story about the development of our social, political, cultural and artistic identity. As a relatively young nation, art plays an important role in our nation-building, and this has been emphasized by President Sukarno’s formidable art collection. Just as Sukarno’s collection stemmed from a modest personal collection, more and more Indonesians realize that they too can start building their very own modest personal collections as part of this renewed awareness of our nation’s culture. Appreciation for art does not usually happen instantly in museums and galleries, but it often involves a long process that starts at home. This is the reason why it is equally important to develop private collections at home as it is to develop grander national collections for museums.

As usual, many of the lots we offer in our Fine Art auction have been sourced from private collections that have not previously appeared in public viewing. The collectors have deliberately placed the pieces in our auction with the intention of finding new homes for their wonderful artworks, so that the new collectors can enjoy and share the art with their family, as well as friends and acquaintances who visit their homes.

A good part of the collection featured in this auction comes from the collection of a pioneering gallery owner and his prominent Jakarta-based art gallery. The works of members of the Affandi family from a collection of a close member of the Affandi family, featured in this auction, is a continuation of the collection offered in our previous Fine Art auction in May. This time, the pieces featured consist of several of Affandi’s works as well as some wonderful paintings and artworks by Maryati, the maestro’s wife, who accompanied and painted along with Affandi during his travels in Europe in the 1970s. Some of the best paintings by Affandi’s daughter Kartika and former son-in-law Sapto Hoedoyo complete the collection. 

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.

Artists who were involved with Lekra, the People’s Cultural Institute, created art more as political statements rather than partisan slogans. Many have depicted historical paintings that remind us of the struggle of the people during the Indonesian Revolutionary War (1945-1949). A painting by Tatang Ganar offered in this auction depicts resting guerillas during the Revolutionary War in Bandung. It shows a human side of the heroism of the militia. Another painting depicts a field kitchen during the Revolutionary War. Although unsigned, the manner in which the figures in the scene are formed, the use of the medium of oils on paper laid on board, and the brushstrokes of the artist, clearly show that the painting is a work by the prominent artist Hendra Gunawan, dating to the period of the War.

While many of the works in our auction are by artists from Yogyakarta, we also feature works by prominent artists residing in Bandung, and painting in the so-called Bandung School of modernism. A work by Mochtar Apin is a depiction of a European landscape, depicted in a Cubist style, typical of the Bandung School. A painting by But Muchtar shows the culmination of his abstraction. This work is no longer an attempt to depict form; it is a purely a composition of shapes and colors. Srihadi Soedarsono’s fine watercolor of a European landscape is not to be missed, and neither is his later painting of a Balinese dancer, the cover piece of our auction.

Many works in this auction are works of sculpture. Mello Tedesco’s figurative pieces are bronze works made using a classical technique. I Wayan Modern’s pieces have been intricately carved in a manner that is more sophisticated than other Balinese sculpture. Works by Ketut Tongos and Made Dini are witty depictions of mythical creatures that are certainly very distinct from classical Balinese works of sculpture. More modern pieces of sculpture in this auction consist of Edith Ratna’s abstract forms and Ibnu Nurwanto’s abstractions of figures done in wood and bronze. There are also works by younger artists Johan Abe and Intan Abdams made in fiber glass and resin.

There are many other pieces in our auction that have wonderful artistic and historical value. Among others, there is a work by enigmatic painter Emiria Soenassa, dating from 1957. You can also find other hidden treasures by Anton Huang and Dullah, very important Indonesian painters, as well as other painters. We hope that the lots we offer will catch the attention of some true art enthusiasts  who will be interested in adding them to their art collections. Although you might have started to collect art with financial investment in mind, we hope that sooner rather than later you will also realize that by collecting art you are also investing in our cultural identity and diversity.

Happy bidding! Enjoy the art!

Amir Sidharta

Tintin Wulia: ‘Attacking’ a wall | The Jakarta Post

This is an article by noted art writer Carla Bianpoen

Tintin Wulia: ‘Attacking’ a wall | The Jakarta Post.

Lelang Amal Mengenang Catharina Dwiastuti Pandjaitan (1958 – 2010)

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A Heart for Textiles: The Late Tuti Pandjaitan 

Traditional Indonesian textiles is famous for their beauty as well as their cultural value. Those originating from the Lesser Sunda Islands particularly intrigued the late Catharina Dwiastuti “Tuti” Pandjaitan (1958-2010), the wife of the Udayana Military District Commander, Hotmangaradja Pandjaitan. She often joined her husband when he visited the remote areas of the military district of his command, which encompassed the islands of East and West Nusa Tenggara and also Bali. While her husband fulfilled his military duties, Tuti engaged in her own mission, which turned out to be humanitarian and cultural in nature.

Since 1988, Tuti had been diagnosed with an incurable heart condition. However, it seems that her health has never become an obstacle in her activities. To the contrary, it is apparent that instead it has motivated her to do more, and to be more and more useful to others. In honor of her mother-in-law, the widow of DI Panjaitan, one of the military high officials assasinated during the 1965 Coup attempt, Tuti set up the Yayasan Cita Abdi Bangsa foundation. Through this foundation, she channeled her humanitarian and cultural activities, particularly in health care and education. In collaboration with musicians and artists, Tuti created children’s songs to evoke a renewed interest in music.

On her visits accompanying her husband to remote areas, she often found that the textile tradition was facing a crisis due to the lack of basic infrastructure. At first she would bring supplies of thread and other materials for the weavers.

During a visit to one village, she learnt that some of the colors that were used in old textiles produced in that village, was no longer produced due to lack of water. Due to the scarcity, any available water was used to fulfill basic needs first. Therefore, producing the old colors was not a priority.

When Tuti learnt that the old colors to be produced again if a well could be built in the village, she immediately provided the means to have the well constructed. Now, the village is continuing to produce textiles with the old traditional colors once again,  thanks to the well. Known as the “Tupa” (an abbreviation for Tuti Pandjaitan) well, today it not only revitalized the textile industry in the village, but also provides water for the basic needs of the villagers. She soon realized that the villagers needed to be self-sufficient.

As she tried to make the villagers to be self-sufficient,  Tuti also realized that the production of textiles still needed patronage and support as well as marketing and promotion. Therefore, she started to build a collection of textiles from the region, and encouraged her friends and acquaintances to also develop their collections.

Part of her collection will be auctioned at the commemoration of her passing away to raise funds for the Yayasan Cita Abdi Bangsa this Friday, 21 October 2011, to enable her efforts in providing support for the textile weavers, especially those living in remote areas of East and West Nusa Tenggara, to be continued. The late Tuti Pandjaitan had developed a heart for textiles, and we hope that even after her passing, her passion  for textiles will continue on in our hearts. We should remember that the greatness of a nation is not determined by the length of roads that it has, nor by the number of shopping malls that it owns. Hopefully, Indonesia can continue to be a great country because its textile traditions as well as other traditions are preserved, continued and developed.

 

Cinta Cita

Ketika Ibu Catharina Dwiastuti “Tuti” Pandjaitan (1958-2010), mendampingi suaminya Hotmangaradja Pandjaitan — Panglima Komando Distrik Militer IX Udayana, mengunjungi daerah-daerah terpencil, beliau menjadi sangat tertarik pada seni dan budaya masyarakat yang tinggal di Nusa Tenggara Timur dan Barat serta Bali. Mulai saat itulah kecintaannya pada pada cita (tekstil), terutama kain-kain hasil tenun masyarakat di sana, tumbuh.

Sejak tahun 1988, Ibu Tuti didiagnosis dengan kondisi jantung yang tidak dapat disembuhkan. Namun, kesehatannya tidak pernah menjadi kendala dalam kegiatannya. Sebaliknya, justru hal itu memotivasi dirinya untuk berbuat lebih banyak, dan berniat untuk senantiasa berguna untuk orang lain. Untuk menghormati ibu mertuanya, janda DI Panjaitan, salah satu dari Tujuh Pahlawan Revolusi, Ibu Tuti mendirikan Yayasan Cita Abdi Bangsa. Melalui yayasan inilah ia laksanakan kegiatan-kegiatan kemanusiaan dan budayanya.

Pada kunjungan-kunjungan menemani suaminya mengunjungi daerah-daerah terpencil, ia sering menemukan bahwa tradisi cita sedang menghadapi krisis karena kurangnya infrastruktur dasar. Pada awalnya beliau membawa persediaan benang dan bahan lainnya untuk penenun agar dapat terus berkarya menghasilkan cita.

Dalam kunjungan ke suatu desa, beliau menyadari bahwa beberapa warna yang digunakan dalam industri tekstil lama diproduksi di desa itu, tidak lagi diproduksi karena kekurangan air. Karena langkanya air, air yang tersedia digunakan untuk memenuhi kebutuhan dasar terlebih dulu. Oleh karena itu, menghasilkan warna lama tidaklah menjadi prioritas.

Ketika Ibu Tuti mengetahui bahwa warna-warna tua dapat diproduksi lagi jika sebuah sumur dapat dibangun di desa itu, ia segera menyediakan dana dan sarana agar sumur itu dapat segera dibangun. Kini, desa itu sudah bisa memproduksi tekstil dengan warna tradisional yang lama itu lagi, berkat adanya sumur itur. Dikenal sebagai “Tupan” (singkatan untuk Tuti Pandjaitan)  sumur itu kini tidak hanya menghidupkan kembali industri tekstil di desa, tetapi juga menyediakan air untuk memenuhi kebutuhan dasar untuk kehidupan penduduk desa.

Ibu Tuti juga menyadari bahwa produksi tekstil masih membutuhkan perlindungan dan dukungan serta pemasaran dan promosi. Oleh karena itu, beliau mulai membangun sebuah koleksi tekstil dari wilayah tersebut, dan mendorong teman-teman dan kenalannya untuk juga mengembangkan koleksi mereka.

Sebagian kecil dari koleksinya itu kini dilelang untuk mengumpulkan dana bagi Yayasan Cita Abdi Bangsa, untuk melanjutkan usaha Ibu Tuti Pandjaitan dalam memberikan dukungan bagi penenun tekstil, khususnya mereka yang tinggal di daerah terpencil di Timur dan Nusa Tenggara Barat.  Kami berharap bahwa bahkan setelah kepergiannya, cintanya pada cita akan dapat dilanjutkan dalam hati kita semua, hingga senantiasa lestari dan terus berkembang sebagai tradisi Indonesia.