Affandi 1907-1990

Musee d'irsan, Affandi Dalam Kenangan, PT. Indonesia Printer, Indonesia, page 120, colourplate

Sardjana Sumichan, Affandi Volume III, Bina Lestari Budaya Foundation, Singapore Art Museum, Jakarta, Singapore, pages 147 and 215, colourplate 71

Helena Spanjaard, Indonesian Odyssey: A Private Journey Through Indonesia's Most Renowned Fine Art Collections, Equinox Publishing, Singapore, pages 42 and 43, colourplates

The painting is in good condition. The canvas is also in good condition with a clear and taut surface. Strip-lining has been done to the painting (only to the edges) - not affecting the canvas of the main picture plane, which is in original condition. Examination under ultraviolet light reveals slight general retouching. They are mainly spots on the yellow areas, such as on the buildings in the background bearing the billboard sign "Hatari", the ground on the lower middle. There are a few scattered specks of retouching throughout the lower left register, one spot on the green car on the lower right and a few specks on the outlines of the buildings. Slight retouching along the back of the seated figure on the foreground (on the viewer's right). Restoration is only visible under ultraviolet light. The paint layers and impastos are intact and in stable condition. (The painting is examined inside its frame).
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"I do the art, not because I like to be rich, not because I like to be famous, but because I have to. It is, I don't know how you call it in English, but we call it "Panggilan Jiwa - the calling of the soul. Whether I get a name or not, whether my painting is sold or not, really does not matter. To do the painting is the thing. I have to do it." - Affandi

Celebrated as one of the fathers of Indonesian Modernism, Affandi helped introduce the concept of painting the daily lives of the common folk to the Indonesian people. He began his career in 1938 – 7 years before Indonesia declared its independence. During a period when idealized landscape painting and portraiture dominated the art scene, Affandi's insight into Indonesian folk life was considered avant-garde. With his large-scale, full-length portraits of Indonesian types from the 1950s Affandi articulates the excitement of the new republic, transforming the common man into icon, celebrating the soul of the people, whose lives have always been connected to the region's lands and seas. With his blown-up self portraits, Affandi was ahead of his time, predating artists such as Andy Warhol, Chuck Close and Yue Minjun.

Apart from his predecessor Raden Saleh, Affandi was the only Indonesian artist up to the mid 20^th century to travel so extensively around the world and to paint so incessantly what he experienced and observed during these trips. In the 1960s, when Affandi traveled to the United States, he was at his creative prime, validated by his award at the Venice Biennale. The head art critic for Time Magazine from 1945 – 1960, Alexander Eliot, singled out Affandi in his review of the Venice Biennale:

"...Approached country by country, the exhibition demonstrated not so much national characteristics as the internationalism of modern art. Except for Indonesia, which showed a roomful of brilliant portraits and figure studies by self-trained Affandi, none of the small nations contributed any startling talents."^[1]

By the time Affandi became Honorary Professor of Painting at Ohio State University in the United States in 1962, he had traveled extensively to India, across the United States, Europe and Brazil and had completed several exceptional paintings that translated the energy and vitality of the powerful, dramatic monuments celebrating the triumph of Man.

Times Square, New York (Lot 36) was likely to be executed during the first few months of his tenure. As the huge billboards he painted indicates, John Wayne's famous movie, Hatari!, was shown in cinemas across the country. The present Lot bears witness to the energy and vigour of New York's urban landscape at the time. With throngs of people and cars swarming the streets, blazing neon lights and vibrant advertising signboards that almost obscure the night sky Affandi reveals his fascination with the 'modernity' and glamour of grand cities and luminous skyscrapers.

Envisioned through Affandi's eyes, New York appears to come to life as "The City that Never Sleeps". At a glance, this vista could not be more different from scenes of Indonesian life with its cockfights, Banyan trees and harvesting scenes. Yet Affandi approached the differing themes with the same vigour and spirit, the same immediacy and direct translation of the observed, and the same interest in depicting monolithic structures, landscapes and urbanscapes pulsating with life.

Swathes of paint applied directly from the tube in various primary colours seem like the residual marks of the artist's hypnotic gesticulations in front of the large canvas. Affandi's works show an unprecedented level of artistic and emotional freedom and raw energy. The emotions range from explosions of awe, expressions of hope and excitement about the future. Times Square, New York is an important precursor to Affandi's later depictions of the world and exemplifies the importance of his traveling series. Not only do they serve as milestones in Affandi's career but they also articulate his unique expression, fascination, awe and passion for life and perhaps even more significantly, confirm his international standing.

^[1] Sardjana Sumichan, Affandi Volume III, Bina Lestari Budaya Foundation, Singapore Art Museum, Jakarta, Singapore, page 146