亨德拉·古拿溫

The work is in good condition overall as viewed. Paint layers are healthy and bright. Upon close inspection, there areas of craquelure visible throughout surface of the work, but they are all stable and consistent with age. Examination under ultraviolet light reveals areas of restoration at the edges and corners of the canvas and around the feet at the bottom left and bottom right corners. There are also small areas of restoration at the face, hair and torso of the mother on the right, visible under ultraviolet light. There are also some smaller and more sporadic spots of restoration at the thicker pigments throughout the surface of the canvas, visible under ultraviolet light. 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."

"Life exists because of a community. From the community friends will come," – Hendra Gunawan

Hendra Gunawan’s paintings are imprinted in Indonesian history as some of the most treasurable images of daily life. As a social being that delighted in the quotidian happenings from the streets of his nation, Hendra documents moments that are otherwise considered inconspicuous and ultimately elevates them to a sacred level.

In this vibrant painting, Hendra depicts a woman holding a tray of jambu monyet as she offers these indigenous fruits to a mother and her daughter. The artist’s penchant for detail is exemplified in the minutiae of this work. The graceful mother gently places her slender hands upon her child, who tip-toes in an effort to assist her protective mother in choosing some fruits. As she converses with the seller, selects her fruit with her right hand and nurtures her child, she exemplifies an effortless, feminine balance. Her voluptuous body, forming an S-shaped curve possibly inspired by the tribhanga posture employed in classical Indian art, mimics the twisting arrangement of her thick, wavy hair. His rhythmic and sinuous brushstrokes applied from an intriguing color palette provide the painting with a whimsical sense of movement and liveliness.

As the dialogue continues in the foreground, an ethereal, veiled woman stands in the backdrop with closed eyes and a serene deportment. Blanketed in a miasma of purple, she is segregated from the scene. Her existence augments the composition with a secondary layer of depth, yet her close presence concentrates the picture plane and suggests that this painting describes an extract from a crowded place. The ground on which these subjects stand is cloudy and indistinguishable, causing the figures to dangle in mid-air like otherworldly beings. Colored with flamboyant and unrealistic hues, Hendra immortalizes these women as numinous, charmed creatures.

Evident in this painting, Hendra rejoiced in monumentalizing the exquisiteness of Indonesian women, always depicted as active individuals so full of capacity and strength. In this simple exchange, the artist notices their ability to support one another, foster meaningful relationships and demonstrate profound maternity as they go about their day. At once elusive and approachable, these women are absolutely enchanting.  For Hendra, while community initiates life, it is his women who initiate the binds that perpetuate it.