阿凡迪

The work is in good condition overall, as is the canvas, which is clear and taut. There are indications of minor wear and handling, but the painting layers and impastos are well preserved and stable. There are gentle and stable craquelures, located on the middle left register. Examination under ultraviolet light reveals light restoration on the middle left register (background) and the upper and lower right corner. Framed.
"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."

外界常把阿凡迪定位為表現主義畫家，他卻說自己的畫是寫實派，因為那是他眼中的現實。阿凡迪是人民畫家協會（Pelukis Rakyat）的創始人之一，常以百姓的日常生活為題，這與專畫殖民地唯美浪漫風景的 Mooi Indie畫家們截然不同。阿凡迪的創作來自於他看到所畫對象後發自內心的瞬間感觸，這與他的潛意識和個人情感關係極深。

阿凡迪曾說：「我總希望在創作時與所畫對象成為一體，我放開自己，卻好像要準備一場鬥爭。」這或許是他本能的直覺與要客觀敘事的壓力在對抗，最終阿凡迪還是為我們展現他主觀世界的色彩，讓觀者自己去體會他內心的那點感觸。

《甜酒》中的男子左手捧著公雞，右手拿著峇里甜酒，咕嘟豪飲。這本應是個閒時樂事，但空氣中卻處處瀰漫著緊張凝重的氣氛，或者這是一場鬥雞的前奏吧。畫家進一步通過用色描繪男子的心理狀態和自己的內心經歷。赤紅的熱情與衝動、翠綠的喜悅和澄黃的陽光，顏色是一切能量的來源。公雞、甜酒和精幹的身子，無不透露著鄉間凡夫率直不羈的玩樂。