Kusuma Affandi

Indonesia (19071990 ) - Artworks
AFFANDI Kusuma Topeng-topeng

Christie's /Nov 24, 2013
114,501.55 - 152,668.74
Not Sold

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Sindutomo Sudjojono, Sudarsono Trubus, Saiman Dullah, Roland Strasser, Fernando Cueto Amorsolo, Carlos Francisco, Jerry Elizalde Navarro
Artworks in Arcadja
435

Some works of Kusuma Affandi

Extracted between 435 works in the catalog of Arcadja
Kusuma Affandi - Mexico

Kusuma Affandi - Mexico

Original 1962
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Lot number: 418
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Acquired directly from the artist Alex Papadimitriou Collection 418 Affandi 1907-1990 MEXICO Signed and dated 1962 Oil on canvas 100 by 120 cm.; 39 1/4 by 47 1/4 in. Estimate 1,200,000 - 1,800,000 HKD Print The work is in good condition overall, as is the canvas which is clear and sound. There is evidence of light wear and handling around the edges of the painting due to the basic framing process. Upon close observation, networks of faint craquelures are visible predominantly on the black impastos, along with three pin-sized holes on the margin. Examination under ultraviolet light reveals no sign of restoration. Framed.
Kusuma Affandi - Nyeret

Kusuma Affandi - Nyeret

Original 1968
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Lot number: 78
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078 Affandi Nyeret 1968 oil on canvas 138 x 98 cm signed and dated (lower right) S$ 100,000 - 150,000 US$ 80,000 - 120,000 This work is accompanied with certificate of authenticity from Santi Gallery Provenance: Previously in the collection of Santi Gallery, Kemang, Jakarta, Indonesia Considered as Indonesia's most renowned artist of the expressionist movement in the 1950s and 1960s, Affandi acclaimed praises from Indonesia as well as international art enthusiasts. Herbert Read, a famous art critic, once stated him as a painter who had succeeded in 'developing a new course of Expressionism'. The artist's life and career documented the daily life of a young nation in transition from colony to a republic. Affandi's works display the artist's fervent brush strokes, inundating his subjects with such emotions that every work screams out the true personality of the artist. His original rather conventional and realistic style gradually morphed into one of the distortion and deformation in the 1950s and since then his works of the 1960s showed the artist's love of vitality and movement, often with forceful subject matters painted in dynamism of his brushstrokes. Through present lot titled "Nyeret" (in Indonesia: 'nyandu', or English: drugs addiction) dated 1968, Affandi tried to record a lifestyle that existed during and post-Dutch colonial era in Java In those days Javanese people did 'nyeret' for the purpose to resist sleepiness, for example a puppeteer who would perform a whole-night wayang performance. However, other parts of the communities such as Chinese traders and local Javanese people did nyeret for recreational purpose, social standing or as catharsis (escaping from the reality or problem). Back then it was reported that there was a special place that provided people to buy and enjoy the drug. At the rental place, wooden beds, tea pot, drinking water and some sugar cubes were provided so the addicts can enjoy their time while taking drugs. Levels of addiction is very high, so there were addicts who died in emaciated state. Affandi documented very well how such lifestyle existed in the Javanese culture, and in the present lot he combines together the closeness of life delight and death threat co-existing in a drug addiction with death symbolized by the skull at the back of the skinny man enjoying the 'nyeret'. Executed in 1968 portraying the Javanese culture then, the painting expresses that addiction is a classic and global social threat and still popular until today. Society at large is systematically failing to engage on the issue. We can safely watch such tragedy, gawking as we drive by the destruction, insulated from the suffering and still unable to help.
Kusuma Affandi - Jatayu(eagle)

Kusuma Affandi - Jatayu(eagle)

Original 1981
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Lot number: 37
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37 Affandi (Indonesian,1907-1990) Jatayu(Eagle) signed and dated 1981 lower centre oil on canvas 148 × 127 cm S$ 280,000 - 400,000 US$ 218,750 - 312,500 Literature Raka Sumichan and Umar Kayam, Affandi, Yayasan Bina Lestari Budaya, Jakarta, 1987, p.198, image no. 143, illustrated in colour
Kusuma Affandi - Topeng-topeng

Kusuma Affandi - Topeng-topeng

Original 1969
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Lot number: 119
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Lot Description AFFANDI (Indonesian, 1907-1990) Topeng-Topeng (Masks) signed with artist's monogram and dated '1969' (upper right) oil on canvas 97 x 160 cm. (38 1/4 x 63 in.) Painted in 1969 阿凡迪 面具 油彩 画布 1969年作 款识: 阿凡迪花押 1969 (右上) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Private Collection, Indonesia View Lot Notes > The 1960s leading up to the early 1970s is considered one of the most productive and excellent phases of Affandi's painting career where he consolidated his reputation as one of the leading Asian artists in his travels and exhibitions within Indonesia and also in America and other parts of the world.??It was also in this period that Affandi was able to demonstrate the depth and breadth of his artistic vision, cementing his position as one of the most important Indonesian painters of the 20th century. During World War II, Affandi spent a short period in Bali. There, he fell deeper in love with Indonesian culture. Topeng-Topeng (Lot 119) is a clear example of Affandi's fascination with Bali. Masks are considered to be sacred items in Balinese society and this work is an exceptional example of how Affandi was particularly skilled at capturing the dynamism and energy that the masks were believed to be able to produce. Affandi engulfed the whole canvas with luxurious amount of pigment, the thick pigments that were oozed out directly from the tube and then hand-smeared convinces the viewers the physical presence of the painting while the organic and spontaneous swirls full of staccato rhythm he created bring soul and life to the still white canvas. The strong and intense choice of colour creates a celebratory atmosphere, and is almost representative of the cultural processions and dances that must have captured Affandi during his time in Bali. It is as though Affandi communicates to the viewers of his works, to the extent that his spirit and vigor can be felt in every stroke, leaving viewers even more captivated and enchanted by his works.
Kusuma Affandi - Minum Tuak (palm Wine Drinkers)

Kusuma Affandi - Minum Tuak (palm Wine Drinkers)

Original
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Lot number: 38
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Description:
Lot Description AFFANDI (Indonesian, 1907-1990) Minum Tuak (Palm Wine Drinkers) signed with artist's monogram (upper right) oil on canvas 112 x 139 cm. (44 1/8 x 55 in.) 阿凡迪 饮棕榈酒 油彩 画布 签名:阿凡迪花押字 Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Collection of Hotel Indonesia, Indonesia Acquired from the above by the father of the previous owner Acquired from the above by the present owner Private Collection, USA View Lot Notes > TOWARDS A NEW EXPRESSIONISM Considered within his lifetime to be the foremost expressionist artist in Asia in the 1950s and 1960s, Affandi was critically acclaimed both within and outside of Indonesia. The renowned art critic Herbert Read hailed Affandi as a painter who had succeeded in "developing a new course of Expressionism". New expressionism is indeed a description that is applicable to an understanding of Affandi's works in subsequent years, gaining for him a place of importance in world art history of the mid-20th century. His works prior to the 1970s such as Minum Tuak (Palm Wine Drinkers) (Lot 38) were often feverishly colourful and showed the artist's love of vitality and movement, often overwhelming the subject of his paintings with the dynamism of his brush strokes. His art is often described as a direct expression of his feelings, and certainly, his representation of nature and his surroundings are evocative and highly animated. His characteristic three-dimensional impasto that we now strongly identify with his work was first applied at the start of the Japanese Occupation in 1942. This "accidental" technique occurred when the brush that Affandi was using broke, and his desire and enthusiasm in wanting to finish the painting led him to squeezing the paint directly from the tube onto the canvas and using his hands to smear the paint and create the texture that he was looking for. Affandi's creations were often a product of an awareness of his surroundings coupled with instinct and spontaneity. The squeezing technique, therefore, suited him as it allowed him to paint fast and it was a better representation of his emotional need to finish a painting. Renowned writer and critic of Affandi's work, Astri Wright observes that the artist's smearing of paint with his fingers, palms, wrists and the back of his hands, adds a human texture to each painting, as though it is saturated with the artist's personal life force. Affandi, unlike other Indonesian and Indo-European artists, positioned himself beyond the idealisation of parts of the Dutch East Indies as "paradise". He wanted to portray reality and sought inspiration from the world around him, such as common scenes like rice terraces, Indonesian festivities, the sun, his self-portrait, the village cockfight, celebrations and communal bonding. These localised inspirations resulted in paintings that were bursting with a dynamic energy and emotional intensity - almost a clear depiction of the life of his homeland, which in Affandi's perception was the best and most beautiful thing. AFFANDI: THE HUMANIST PAINTER The depiction of men drinking palm wine in the present lot is a recurring subject in Affandi's large body of work, which combines vigour and sensitivity to the human condition. Drinking and cockfighting provide a common interest for men from the same walk of life who enjoy the sense of brotherhood, adventure and tradition of this sporting event. It is a symbolic activity that signifies celebration and the fellowship of the community. The expression of this harmonious occasion and friendly rivalry of the cockfight is clearly depicted in this scene. The forceful lines, darker tones and the changes from heavier to lighter colours are almost representative of the friendly competition between the village men, but the palm wine together with the background of palm trees lighten the mood and create a sense of festivity. This dense composition of one of Affandi's favourite subjects, roosters and the cockfight as well as his interest in the camaraderie of his fellow men, is imbued with a sense of excitement and anticipation. Affandi's expressionistic style of painting can be compared to the works of Vincent van Gogh, Oskar Kokoschka and Eugène Delacroix for his use of vibrant and distinct colours as well as the brush strokes, swirls and texture of his works. His works draw the viewer in both to the scene and the emotions that Affandi felt while creating his masterpieces. Minum Tuak, one of the subjects that was often painted by Affandi, is an exquisite piece that awakens the mind and stirs the spirit of good cheer and festivity.
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