Sudjana Kerton

Acquired directly from the artist

The work is in good condition overall, as is the canvas, which is clear and sound. Upon close observation, there is evidence of light wear and handling around the edges of the painting, along with a slight undulation on the right corner. Examination under ultraviolet light shows a minor verticle repair of the canvas above the house with drying salted fish (lower right quadrant), a minute paint loss on the lady bathing in waterfall (lower left quadrant), and a pin-sized hole located near the middle of the left margin. However, this is not visible upon the naked eye. Framed.
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“In my art, I feel that each specific subject I paint has become a part of my inner feelings since first encounter; I become a part of it as it becomes a part of me”¹, the artist declared. 

Sudjana Kerton was born in Bandung, West Java, and grew up with a passion for painting. The artist’s mastery of poetic themes has established him as one of the most important national artists in Indonesia. It may be said that the artist’s oeuvre is largely inspired by three key phases within his life that had a lasting influence upon his artistic paradigm: his patriotic ideology, the exposure to Western art, and witnessing Indonesia’s embracement of modernization. Like any artist who had firsthand experience with the transition from the colonial era to Independence – his choice of artistic expression has always depicted the daily lives of ordinary people.

Possessing a profound sense of nationalism during the Indonesian struggle for independence, he found a job as an illustrator for the Patriot newspaper that enabled him to freely express his political beliefs. Sudjana was able to record several important and historical events in Indonesia’s path towards Independence (Fig.1), for “…as a battlefield artist and patriotic visual journalist, he explored new ideas about society, power and government while documenting underground activities and realities.”² This was the first stage in the artist’s life that established his patriotic pride and nationalistic ideals.

The second phase in his career was marked by the artist’s trips to Europe and America where he was exposed to different artistic styles. The paintings of Picasso (Fig.2) and Diego Rivera (Fig. 3) demonstrate these notable influences. During the 1950s and 1960s, his works embodied a cooler and more subdued color palette, using simple lines to produce semi-abstract forms that leaned towards cubism. Thus the artist renders the ethnic context of the paintings with a unique touch to showcases his cultural understanding and respect for his homeland.

However it was the artist’s trip to Mexico in 1963 that caused a dynamic shift in his paintings. Sudjana could relate to the country’s history of colonialism, and fight for independence. Mexican artist Diego Rivera’s murals had a large influence upon the paintings he created during this period (Fig. 4). “During his visit to Mexico Sudjana’s colors exploded into a tropical intensity and richness, the human figure returned as the most important form to be explored expressively, set against a contrasting background, and the desire to return home to Indonesia which had never left him seemed to increase in intensity.”³

Upon his return in 1976, Sudjana realized how twenty-five years had affected the country, and was suddenly faced with a rapidly changing Indonesia with a culture that was foreign to him. However, it did not stop the artist from continuing to fill his canvases with memories of the past – which he cherished, and that reminded the people of their roots to Javanese traditions.

The captivating panoramic sweep of Sudjana Kerton’s charming Village Life  demonstrates a truly magnificent and vibrant symphony of painterly expression. It comprises a powerful juxtaposition between the composition and color tone to convey movement, while providing a sense of simplicity, as well as the richness of his motherland.

Inspired by Diego Rivera, the present work is reminiscent of his murals that blended mythology with local livelihoods. Village Life is a testimony to Sudjana’s respect for his country. Painted during the most seminal period of the artist’s oeuvre, Village Life shows scenarios from the daily lives of the villagers. By highlighting the people on such a grand scale, he has transformed ordinary existence to become a celebration of human connections. Sudjana Kerton never fails to capture his audience’s attention to his keen interest in human behavior and relationships.

The artist’s vision of the rakyat kecil was the essence of his inspiration. Works from this period are infused with a strong sense of communal friendliness, sincerity and simplicity. Admired for his honesty and integrity; his works display a transnational identity of diverse cultures – of both Indonesian and Western influences. “As an Indonesian and an artist, at home and abroad, Sudjana Kerton explored the various aspects of his self – his family and cultural heritage, his memories, and his environment, testing and seeking to give form to the various resonances that arose in the course of the dialogue with the world.” ⁴

¹Astri Write, Nationalisme dan Perubahannya: Refleksi Karya Sudjana Kerton, Seni Budaya Offset, Jakarta, Indonesia, 1996, p. 165

² Refer to 1.

³Astri Wright, Sudjana Kerton: A Pioneer of Transnationalist Identity, The Jakarta Post, Jakarta, Indonesia, 1996, p. 9

⁴ Refer to 2.