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Kusuma Affandi

Indonesia (1907 -  1990 )
AFFANDI Kusuma Snow Landscape In Italy

33auction /May 21, 2016
57,655.38 - 76,873.84
69,184.80

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Affandi

 

Along with Kusuma Affandi, our clients also searched for the following authors:
Sindutomo Sudjojono, Sudarsono Trubus, Saiman Dullah, Roland Strasser, Fernando Cueto Amorsolo, Carlos Francisco, Jerry Elizalde Navarro
Artworks in Arcadja
522

Some works of Kusuma Affandi

Extracted between 522 works in the catalog of Arcadja
Kusuma Affandi - Borobudur And The Sun

Kusuma Affandi - Borobudur And The Sun

Original 1984
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Lot number: 1034
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Affandi BOROBUDUR AND THE SUN 1907 - 1990 signed and dated 84 oil on canvas 149.5 by 195 cm; 58 3/4 by 76 3/4 in. Literature Sardjana Sumichan, Affandi, Vol II, Bina Lestari Budaya Foundation, Jakarta, Singapore Art Museum, Singapore, 2007, p. 313, fig. 257 (color illustration) Agus Dermawan T., Mikke Susanto, Maestro - Seni Rupa Modern Indonesia, Kementerian Pariwisata & Ekonomi Kreatif, Jakarta, Indonesia, 2012, p. 56, colour illustration Catalogue Note A cradle of rich culture and bountiful art, Yogyakarta served as a sacred enclave for many artists affected by the socio-political problems nearing the 1950s. The city embraced a community of eclectic modern artists, one of whom was Affandi, the father of Modern Indonesian art who was widely celebrated for his flair in the expressionist style. A major proponent of a new vision of Indonesian art that encapsulated the true spirit of its people, Affandi produced works devoted to the authentic, Indonesian life. In an effort to shatter the rose tinted glasses of the Mooi Indie artists who created romanticized images of Indonesia, Affandi encouraged artists to paint the candid realities of life in his country. Along with various other progressive Indonesian artists, he stimulated the birth of an aesthetic movement, the Lembaga Pelukis Rakyat (the People’’’’’’’’s Painters Association). Though his style was expressive, he considered himself a realist who sought to portray the realities of the world around him. His paintings of Java, in particular, served as expressions of his nationalistic values and fresh ideals for the aesthetics of his newly independent nation. Situated in Yogyakarta, the Borobudur is the world’’’’’’’’s largest Buddhist temple, which has long been adulated by artists and pilgrims alike for its architectural and spiritual significance. Borobudur and the Sun reveals Affandi’’’’’’’’s aptitude for capturing the essence of a subject through his own expressive interpretation. The artist once said, “I too like beautiful things, but they do not necessarily provide inspiration for my work. My subjects are expressive rather than beautiful.”1 He seamlessly blends these aspects into the present lot, in which he presents the temple in its glorious entirety. Viewed from afar, the colossal sanctuary stretches horizontally across the picture plane, below a gargantuan sun. The sun, considered a vital ‘Life Force’’’’’’’’ for Affandi, expands dramatically as it spreads its yellow beams, permeating the work with vivacity. The true source of energy that perpetuates existence, the sun is a motif that resonated deeply within the artist, for it is ubiquitously included in his works. Affandi applied varying colors to constitute the sun, based on the level of heat it would have exuded on the day he painted it. Unlike the scorching orange suns that frequent his works, the sun in the present lot is delineated with a calm blue, perhaps suggesting that it was a cool afternoon in Yogyakarta. In the present lot, it is at once translucent and empowering, exuding rays of yellow that bounce off the crevices and protrusions of the magnificent temple, illuminating its finely sculpted walls. It hovers against a dramatic sky, enlivened by buoyant, blue clouds that appear to dance above the splendid structure. Comparable to the sinuous lines Van Gogh utilized to represent natural formations, the swirling brushstrokes of the clouds in the present lot infuse a distinct rhythm, vitality and soul to the scene, allowing the artist to express his feelings in a tactile manner. Nature appears to rejoice this sacred pyramid, which has basked under its watch since its erection in the 9th century. While the sunlit surface of the shrine and its gentle tonal gradation accentuate the textural qualities of its relief sculptures, the thick impasto and bold strokes capture the tall ridges of its stupas. The artist juxtaposes bright hues of yellow, green, and blue against the earthy, dark colours of andesite rock, which comprises the structure, emphasizing its arresting silhouette. Such ornate detailing contributes to the divine nature of Borobudur, as the pyramidal monument appears to rise towards the heavens. The artist conveys a peaceful harmony between the ancient, man-made structure and its natural surroundings, creating a sense of permanence and stability. Affandi would meticulously study his subjects before painting, waiting patiently for a moment of inspiration, when his emotions would reach its pinnacle. As manifest in this sprawling work, Affandi’’’’’’’’s archetypal modus delivered his works with a viscous, textural impasto and three-dimensional quality, which affected his employment of color, shape and line. As an autodidact artist, Affandi mastered academic painting with verisimilitude after having garnered the fundamentals of anatomy and perspective from merely observing an Italian artist in Bandung. By merging these scrupulous rules with expressions of his own, simmering emotions, Affandi essentially invented his own form of naturalism: one pulled from the reality he witnessed before him, filtered through sentiments he felt. The end result is a powerful work that showcases a chaotic mix of colours and vivid lines. Described by British art critic Eric Newton as a “perfect example of the Expressionist,” Affandi was “wilder than Kokoschka, as human and passionate as Van Gogh.”2 Amongst the plethora of themes Affandi depicted within his opus, the Borobudur stands as one of the rarest subjects. There are only a few known works of this hallowed temple produced within his oeuvre, and Sotheby’’’’’’’’s is privileged to offer one of the largest and most extraordinary works that capture this sanctified subject. Upon viewing this work, which was painted just six years prior to his death, it is evident that Affandi’’’’’’’’s highly instinctive manner of painting allowed his oeuvre to grow steadily beyond reality, ultimately metamorphosing into a visual reflection of the cosmic nature of things. Borobudur and the Sun truly a provides a “unity with the cosmological forces through art3”, with the temple itself seemingly ascending into the sky, attempting to commune with the divine. 1 Sardjana Sumichan, ed., Affandi: Volume III, Singapore Art Museum, Singapore, 2007, p.22 2 Refer to 1, p.10 3 Sardjana Sumichan, ed., Affandi: Volume II, Singapore Art Museum, Singapore, 2007, p.43
Kusuma Affandi - Perahu Dan Karang

Kusuma Affandi - Perahu Dan Karang

Original 1964
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Lot number: 513
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Lot Description AFFANDI (Indonesian, 1907-1990) Perahu dan Karang signed with artist's monogram and dated '1964' (lower right); dated '1964' (on the reverse) oil on canvas 100 x 129.5 cm. (39 3/8 x 51 in.) Painted in 1964 Literature Sardjana Sumichan, Affandi – Volume II, Bina Listari Budaya Foundation, Jakarta; Singapore Art Museum, Singapore, 2007 (illustrated, fig 76, p. 129).
Kusuma Affandi - Borobudur

Kusuma Affandi - Borobudur

Original 1983
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Lot number: 34
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Lot Description AFFANDI (Indonesian, 1907-1990) Borobudur signed with artist's monogram and dated '1983' (lower right) oil on canvas 125 x 150 cm. (49 ¼ x 59 in.) Painted in 1983 Provenance Private Collection, Indonesia Pre-Lot Text PROPERTY FROM AN IMPORTANT INDONESIAN PRIVATE COLLECTION Literature Sardjana Sumichan, Affandi – Vol II, Bina Listari Budaya Foundation, Jakarta; Singapore Art Museum, Singapore, 2007 (illustrated, fig 249, p. 305). Helena Spanjaard, Indonesian Odyssey: A Private Journey Through Indonesia's Most Renowned Fine Arts Collections, Equinox Publishing, Singapore, 2008 (illustrated, p. 40). View Lot Notes >
Kusuma Affandi - Snow Landscape In Italy

Kusuma Affandi - Snow Landscape In Italy

Original 1972
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Lot number: 55
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Lot 55: AFFANDI | Snow Landscape in Italy Description: oil on canvas| 110 x 130 cm| signed and dated 1972 lower left Provenance: Previously in the collection of Raka Sumichan Dimensions: 110 x 130 cm Artist or Maker: AFFANDI (1907-1990, Indonesian) Literature: Bob Urbain Dirix, Affandi, Prix International Dag Hammarskjoeld, Brussels, Belgium, 1976, plate 82, monochrome Medium: oil on canvas Date: 1972
Kusuma Affandi - The Bridge

Kusuma Affandi - The Bridge

Original 1976
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Lot number: 377
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Affandi 1907 - 1990 THE BRIDGE Signed and dated 76 Oil on canvas 99 by 128 cm; 39 by 50 1/4 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Gifted from the artist to the late Mr. Ali Sadikin Private Collection, Indonesia Catalogue Note Much has been admired and said of Affandi’’’’s expressionistic-inspired artworks. The artist’’’’s signature use of painting with his hands and select color palette of reds, yellows, greens, and browns, all create a specific ambience within the paintings. There is a distinct identity that exists in the artworks, and it can be implied that it is the artist’’ ’’s own enthusiasm for his environment, that instills in each painting a certain gravitas which resonates with the audience. In the present work entitled The Bridge, the arresting formulation of colors paired with the expressive brushstrokes all serve to communicate the living energy of the natural landscape that has been rebirthed in the canvas. What may have been a quiet and serene scene has been redefined with Affandi’’’’s visual vocabulary as a world that is rich with its own personality, impossible to silence within the two-dimensional frame it now inhabits. The artist has referred to himself as the Indonesian Van Gogh. Though this comment may have been said in jest, there is a distinct correlation between the Indonesian painter and the French artist. Notably in both artists’’’’ stylistic thick brushstrokes that instill in their paintings a certain emotion that underlines the overall narrative. This similarity is evident in The Bridge. Though the environment may be an Indonesian scene, the pressure applied to the brushstrokes and the dynamic play of colors are reminiscent of his doppelganger’’’’s impressionist works. Affandi believed whole heartedly in the common man, and it was in his paintings that these individuals shared their stories and experienced a kinship with the Indonesian landscape. The present work may be viewed as a universal look at the natural world, for gardens symbolize growth and prosperity. Like the flora and fauna that need sunlight to prevail, human beings also require sunlight for survival. The Bridge perfectly conveys Affandi’’’’s artistic integrity and the choice themes that he favored in his body of works. By having the landscape be the focal point of the artwork, and thereby embracing the natural environment as a metaphor for human connections, he is ultimately unifying his internal beliefs with an external audience. It is a relationship founded on artistic reciprocity and respect. Fig. 1 Affandi, Pasar Di Bawah Beringin (Market Below the Banyan Tree) , Sold at Sotheby’’’’s Hong Kong 4 October 2015, Lot 1059 for USD 598,686 Fig. 2 Ali Sadikin gives Affandi the first nasi tumpeng, in celebration of the painter’’’’s birthday See More See Less
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