- 161
AFFANDI
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Description
AFFANDI
1907-1990
TIGA WAJAH
Signed and dated 1963 lower left
Oil on canvas
100 by 142.5 cm.; 39 1/4 by 56 in.
Literature
Prof. Dr. Mochtar Kusuma-Atmadja, 'Streams of Indonesian Art- From Pre-Historic To Contemporary', Jakarta, 1990-1991, page 151, colourplate
S$200000-300000
US$121210-181820
In the 1960s Affandi became clearly interested in depicting a series of faces on a canvas. The year 1963 in particular stands out for the proliferation of such works. Most noticeably are his paintings of masks, with titles such as Self-portrait and Masks, and Balinese Masks. In all cases, Affandi focuses on the grotesque, exaggerated and humorous stereotypes of the traditional wayang topeng. The relationship of both subjects, in the artist's inclusion of his own face amid these masks, and their obvious ontological enquiries, seem to have fascinated the artist.
Yet Affandi was always the first to claim that his works were never intellectual. Such paintings perhaps express the candour, humour and self-confidence of an artist keenly aware of his own physical and spiritual intensity as well as lack of good looks.
Tiga Wajah (Three Faces) connects very closely to these contemporary works. Depicting three self-portraits, the work expresses three emotions, symbolised by colour. The red of the central face is always the artist's symbol of passion and vitality, and even sexual energy. The green anointing the face on the right seems to symbolise joy and laughter, while the rather heavy black outlines of the face on the left may denote sadness and misery. Combined, the three emotional states create a raw and powerful impression of the artist.
Despite his anti-intellectualism, Affandi's paintings always resonate with the most spiritual art forms. The depiction of three faces makes references to Hindu iconography, especially to a manifestation of Shiva - Trimukha - 'Three Faces' representing the deity's role as creator, sustainer and destroyer. In Renaissance art, three faces popularly represented 'Prudence' and the importance of learning wise actions from past mistakes in order to improve one's future. This was depicted by three stages of life: youth, adulthood and old age.
However perhaps the closest visual references to Tiga Wajah are perhaps some paintings Affandi may have seen in his frequent travels to Europe - especially Anthony van Dyck's triple portrait of King Charles I, and Philippe de Champaigne's portrait of Cardinal Richelieu. In the 17th century, these portraits acted as models from which sculptors created busts of subjects they never saw with their own eye.
Although it is unlikely the artist intended to draw any such immediate reference, its presence is undeniable, clearly illustrating how even at his most spontaneous and immediate, Affandi always betrayed his intuitive understanding of nature, history, culture and humanity.
1907-1990
TIGA WAJAH
Signed and dated 1963 lower left
Oil on canvas
100 by 142.5 cm.; 39 1/4 by 56 in.
Literature
Prof. Dr. Mochtar Kusuma-Atmadja, 'Streams of Indonesian Art- From Pre-Historic To Contemporary', Jakarta, 1990-1991, page 151, colourplate
S$200000-300000
US$121210-181820
In the 1960s Affandi became clearly interested in depicting a series of faces on a canvas. The year 1963 in particular stands out for the proliferation of such works. Most noticeably are his paintings of masks, with titles such as Self-portrait and Masks, and Balinese Masks. In all cases, Affandi focuses on the grotesque, exaggerated and humorous stereotypes of the traditional wayang topeng. The relationship of both subjects, in the artist's inclusion of his own face amid these masks, and their obvious ontological enquiries, seem to have fascinated the artist.
Yet Affandi was always the first to claim that his works were never intellectual. Such paintings perhaps express the candour, humour and self-confidence of an artist keenly aware of his own physical and spiritual intensity as well as lack of good looks.
Tiga Wajah (Three Faces) connects very closely to these contemporary works. Depicting three self-portraits, the work expresses three emotions, symbolised by colour. The red of the central face is always the artist's symbol of passion and vitality, and even sexual energy. The green anointing the face on the right seems to symbolise joy and laughter, while the rather heavy black outlines of the face on the left may denote sadness and misery. Combined, the three emotional states create a raw and powerful impression of the artist.
Despite his anti-intellectualism, Affandi's paintings always resonate with the most spiritual art forms. The depiction of three faces makes references to Hindu iconography, especially to a manifestation of Shiva - Trimukha - 'Three Faces' representing the deity's role as creator, sustainer and destroyer. In Renaissance art, three faces popularly represented 'Prudence' and the importance of learning wise actions from past mistakes in order to improve one's future. This was depicted by three stages of life: youth, adulthood and old age.
However perhaps the closest visual references to Tiga Wajah are perhaps some paintings Affandi may have seen in his frequent travels to Europe - especially Anthony van Dyck's triple portrait of King Charles I, and Philippe de Champaigne's portrait of Cardinal Richelieu. In the 17th century, these portraits acted as models from which sculptors created busts of subjects they never saw with their own eye.
Although it is unlikely the artist intended to draw any such immediate reference, its presence is undeniable, clearly illustrating how even at his most spontaneous and immediate, Affandi always betrayed his intuitive understanding of nature, history, culture and humanity.