Christie's /May 26, 2013
€120,107.23 - €150,134.04
Artworks in Arcadja412
Some works of Kusuma AffandiExtracted between 412 works in the catalog of Arcadja
Auction: Christie's -Nov 23, 2013 - Hong KongLot number: 38
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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.
Auction: Sotheby's -Oct 6, 2013 - Hong KongLot number: 451
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Gift of Mr. Steven Kenny to Ms. Irma Lengkong, 1998 Sotheby's Hong Kong, April 5 2009, Lot 116 Acquired by the Present Owner at the Above sale 451 Affandi 1907 - 1990 THE PRAW I Signed; Signed and inscribed on the reverse Oil on canvas 87 by 137 cm.; 38 by 53 3/4 in. Estimate 500,000 - 700,000 HKD Print The work is in good condition overall, as is the canvas which is taut and the paint layers intact. Minor signs of wear and handling around the edges. Under ultraviolet light inspection there is no signs of restoration. Framed.
Auction: Borobodur -Aug 4, 2013 - SingaporeLot number: 206
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AFFANDI (1907 - 1990) Topeng - Topeng with Self Portrait (Selbstportrait mit masken) Signed with artist's monogram and dated �1968' (lower right); Signed again with artist's monogram and dated (middle right) Oil on canvas 94 x 123 cm SGD 100,000. - 150,000. USD 80,000. - 120,000.
Auction: Christie's -May 26, 2013 - Hong KongLot number: 3318
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Lot Description AFFANDI (Indonesian, 1907-1990) Penari Bali (Balinese Dancer) signed with artist's monogram and dated '1970' (upper left); signed 'Affandi' and inscribed 'coll. Raka Sumichan' (on the reverse) oil on canvas 134.5 x 96.5 cm. (53 1/8 x 38 1/4 in.) Painted in 1970 Provenance Acquired directly from the artist by Raka Sumichan Acquired from the above by the present owner in the 1980s View Lot Notes > Affandi, the foremost expressionist master in Indonesia, was a contemporary of S. Sudjojono (1917 - 1986), perhaps the main advocate of Modern Indonesian Art amongst their artistic fraternity. While the eloquent Sudjojono assumed leadership for the 1950s modernist movement, Affandi supported it with his numerous paintings of the ordinary folks. Described by art historian Astri Wright as "one of the most important interpreters of people's life and emotion", Affandi's preoccupation with the common folk started at the beginning of his career. Affandi's life and career documented the daily life of a young nation in transition from colony to republic. During World War II, Affandi spent a short period in Bali. There, he fell deeper in love with Indonesian culture. Penari Bali (Lot 3318) is a perfect example of Affandi's fascination with Bali and an exceptional example of how Affandi was particularly skilled at capturing the dynamism and energy of life around him. The present lot had been acquired by the current owner from one of Affandi's most significant collector, Raka Sumichan in the 1980s in Bali and has remained in the collection ever since. The sweeping form and grandeur of Penari Bali (Balinese Dancer) can be felt as 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 movement and energy of the dancer is aptly captured by the lines and vibrancy of the colour resulted from the application of the paints. As a self-taught painter, Affandi found his particular branch of expressionist painting via his natural instinct to overwhelm the viewers, transcending them to a different level of enjoyment. Viewers are not entertained by painstaking and realistic rendition that only gives them superficial appreciation of an artwork. Rather, Affandi voices his spirit and vigor in every stroke, in a way communicating with the viewers beyond skin-deep level and as a result, viewers are even more captivated and enchanted by Affandi's works.
Auction: Christie's -May 25, 2013 - Hong KongLot number: 16
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AFFANDI (Indonesian, 1907-1990) Balinese Fisherman inscribed '#3486' and 'Asia-Foundation World Gall' (on the stretcher) oil canvas 120 x 90 cm. (47 1/4 x 35 3/8 in.) Painted circa 1958 Gift of the artist to the Asia Foundation in 1958 PROPERTY OF THE ASIA FOUNDATION New York, USA, World House Galleries, Affandi, 1958 Affandi and the Asia Foundation As recounted by the art historian Astri Wright, Affandi's recollection and memory of America is encapsulated boldly in these words - 'I have many friends in America'. The present lot, Balinese Fisherman (Lot 16), a gift of the artist in 1958 to the Asia Foundation, head-quartered in San Francisco, United States of America, is a perfect example of the friendship and cultural ties between Indonesia and the United States stretching back to the early 1950s, when Affandi made the first of six trips to the US. As a guest of the State Department of the United States, Affandi was recognised as one of the leading Indonesian artist of the 1950s - his self-taught expressionist style of painting, oftentimes compared to the works of Oskar Koshchaka and Vincent Van Gogh, and hailed as a leading example of modernity in the East. In 1957, Affandi arrived in the US to study methods of art education in 1957. He held an exhibition at the World House Galleries of the New York Press Club in 1958 where this present lot was exhibited. After the exhibition, the work was then gifted to the Asia Foundation by Affandi, arranged through Mr. Philip A Bruno, the owner of the gallery. The painting has been in the collection of the Foundation ever since. The Asia Foundation is a non-profit international development organization committed to improving lives across a dynamic and developing Asia. The program of the Foundation addresses critical issues affecting Asia within the 21st Century-governance and law, economic development, women's empowerment, environmental issues, and regional cooperation. With its headquarters in San Francisco and a network of offices in 17 Asian countries and in Washington, DC, the foundation works with public and private partners, receiving funding from a diverse group of bilateral and multilateral development agencies, foundations, corporations, and individuals. In 2012, the Foundation disbursed US$100 million in direct program support and distributed textbooks and other educational materials valued at over US$30 million. In Indonesia, the Asia Foundation has supported initiatives to consolidate democracy, strengthen the role of civil society, promote economic growth, and improve government services. The foundation works with innovative leaders to build partnerships and advance pathbreaking reforms to strengthen judicial systems, promote economic growth in blanance with environmental protection, support free and fair elections, engage civil society and address gender issues. In Indonesia, the Foundation has multi-year development partnerships with the bilateral assistance agencies of Australia, Canada, Denmark, Netherlands, Norway, United Kingdom, and the United States. Additionally, the World Bank, Indonesian government-led multi-donor trust funds, private foundations and corporations contribute to a range of ongoing development partnerships. Fund raising takes place over different platforms. The proceeds from the sale of Balinese Fisherman will directly go towards support for various Asia Foundation initiatives that contribute to imporving lives in the region. A Heroic Expressionism While in America in 1958, Affandi's works received critical acclaim for their powerful expressionistic quality, particularly outstanding in depicting the emotion and personality of his subjects. Balinese Fisherman, alongside other single figure works of the artist from the late 1950s, is particularly revealing of this quality. The fisherman in the painting is a man of significant proportions; at once comfortable with, and in command of, Nature and its elements. Depicting the fisherman returning to shore after a day out at sea, with the oars of his boat easily draped over his left shoulder and a water vessel in his right, the fisherman is master of his trade and commander of his destiny. His towering presence is emphasised by Affandi's very typical compositional treatment for paintings of single figures in the 1950s, where he frames the figure tightly within the height of his canvas, very fractionally cropped at the top and bottom edges to suggest concealed height. The figure is situated in the vertical centre of the painting, and the background heavily worked over. In Balinese Fisherman, the skin of the fisherman is a glowing orange-red, with complementary yellow and green tones in Affandi's characteristic undulating, swirling and spiralling application of paint directly from the tube onto the canvas, in the ultimate gesture of expressionistic abandon. Hailed as a "towering figure in the history of Indonesian modern art." Affandi's paintings often display his emotional responses to the lives of a people struggling to move out of poverty towards dignity. A fisherman in Bali is not a typical hero or revered painting subject, but in Affandi's oeuvre, he enjoys a central place of significance. Proportion is ignored as Affandi deliberately exaggerates the scale between humans and inanimate objects. In Balinese Fisherman, two jukung boats, one on the shore and the other out at sea, are reduced to a mere tenth of the gigantic fisherman, while a frenzy of white and blue paint suggests a wave breaking near shore. The scene is simple, straightforward, and its dramatic quality emphasised by the primacy of the figure, in his near-heroic stance. Affandi's art was rooted in the direct observation of the world around him, which he transformed to express his personal inner vision. His commitment to painting daily scenes of Indonesian life was a life-long passion; depicting, in his perception, the best and most beautiful aspects of his homeland. To capture the essence of each situation or object, he developed and continually replayed a group of subjects, such as rice terraces, Indonesian festivities, the sun, his self-portrait, and of course the dynamic energy of the village cockfight - a common meeting ground for men from the same walk of life coming together to share the unity, brotherhood and adventure of this traditional sporting event. These localised inspirations resulted in a painting which danced with a dynamic energy and a distinct rhythm full of emotional intensity - a perfect recording of the social emotions of the period in tune with the painter's own feelings and sentiments. Affandi has been quoted saying: "If the color is good then it's okay." He advocated looking at paintings with his eyes and heart, rather than the intellect. Emotion is the essential element in the artist's work, as Astri Wright remarked: 'Affandi's style has been called expressionistic but to him his works were more true to the subject than any degree of photorealism could have been - an honesty which had more to do with emotional experience than with intellectual analysis. As he said in the 1992 film by Yasir Marzuki, Hungry to Paint, Affandi did not see himself as a clever man, 'not like Picasso'. He was more like van Gogh - a man of strong emotion, which in turn gave rise to works of art, the stylistic similarity between himself and van Gogh that people always point to was a matter of emotional affinity.