Affandi

Raka Sumichan and Umar Kayam, Affandi, Yayasan Bina Lestari Budaya Jakarta, Jakarta, Indonesia, 1987, p. 139, colorplate 88

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 shallow undulations on the upper right and left margins and a minute paint loss on the upper middle quadrant (green paint). Impastos are healthy and stable. Examination under ultraviolet light shows light touch-ups in the background, primarily on the top register. 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."

Mother Pig and Piglets carry all the paraphernalia of his occupation like a king with his emblems of power, or a deity with his iconographic attributes. Yet, all the details seem secondary amid the virtuosity of expressive paint marks and scribbles, which as a whole appears like a monumental, irregular mesh of lines. Despite the radical deconstruction of traditional painting, Affandi always grounds his canvases in formal reality. A strong nurturing quality is conveyed through the firm and rhythmic strokes. Affandi deliberately stretches the body of the mother pig across the canvas as an emblem of an unconditional maternal love, while her baby piglets gather around her for the source of food and survival. Transcending both form and process, the work radiates with Affandi’s prime inspirations: the optimism, hope and intense joy of creating art, of documenting his life, environment and people, and of visualizing the spirit of a young republic.