亨德拉·古拿溫

Acquired directly from the artist by the late Mr. Ali Sadikin
Private Collection, Indonesia

This work is in good overall condition as viewed, and the paint layers are healthy overall. There is evidence of very light wear along the edges of the work, due to abrasions with the frame, but this does not affect the overall image. Examination under ultraviolet light reveals some very minor and small spots of restoration along the bottom edge of the work, at the ear of the closest buffalo, at the leaves of the trees at the upper left quadrant, and at the leaves of the trees at the bottom right quadrant. 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

When East and West aesthetics come together it is always an interesting study to see the results from this artistic marriage. The evolution of modern art in Indonesia follows a similar trajectory, while simultaneously providing a detailed history of the country emerging from colonialism to redefine its creative identity. From the 1930s onwards local artists adapted Western painterly styles into their artworks, but remained fiercely loyal to their own nationalistic principles. This cultural pairing is evident in the landscape works that merge European romanticism with localized patriotism. Hendra Gunawan is one such artist whose paintings when grouped together enable the audience to visualize Indonesia’s fight for independence, as well as subsequent success over the Dutch to establish themselves free from foreign rule.

The sweeping narrative titled Landscape is a classic piece from the artist’s oeuvre. The work contains within it all the hallmarks of Hendra’s artistic vocabulary establishing him as one of the key figures in Indonesia’s history of modern art. As one of the artists from the Sanggar period (1945-1949) who focused on the country’s political turmoil and economical shifts in power, Hendra’s early paintings were largely subversive, incorporating sociological themes into narratives understood by the rural public. The present work was created 30 some years after the Sanggar period, however staying true with the artist’s revolutionary spirit Landscape remains faithful to Hendra’s belief that the natural environment is what makes up a nation.

Within the present work the artist has rendered Bandung’s topography in rich hues that succinctly convey the allure of the physical landscape. Landscape is a very special work from Hendra’s career, for the inspiration for the piece came from the artist’s friendship with the highly revered art collector Ali Sadikin. The artist was staying in Mr. Sadikin’s guest room, and upon opening the window to gaze down upon the lush gardens was inspired to create a painting that shared the same serenity and beauty of the flora and fauna that captivated his attention. The colors chosen are reminiscent of Sundanese color tones and Parahyangan landscapes. Mr. Sadikin and the artist were both Sudanese, and this detail enhanced their friendship even more.

Elements in the narrative further communicate Hendra’s socio-political ideas, notably the exchange between human beings and Mother Nature. Hendra often featured volcanoes and mountains in his landscape paintings, their presence creating a sense of stability in the compositions. The water buffalos walking up the mountain path, together with the villagers and their children, also create a certain feeling of balance and harmony in the painting. The actions of all these figures are interconnected and part of a greater picture. One cannot exist without the other, and this reciprocity is essential for the growth of a country and its people. As a historical analysis of Indonesia’s independence, and as a visual celebration of the country’s topography, Landscape is a very special piece from the artist’s oeuvre.