Affandi

Sardjana Sumichan, Affandi, Vol II, Bina Lestari Budaya Foundation, Jakarta, Singapore Art Museum, Singapore, 2007, p. 313, fig. 257 (color illustration)

Agus Dermawan T., Mikke Susanto, Maestro - Seni Rupa Modern Indonesia, Kementerian Pariwisata & Ekonomi Kreatif, Jakarta, Indonesia, 2012, p. 56, colour illustration

This work is in good overall condition as viewed. There is evidence of light wear along the edges and corners of the work due to abrasions with the frame and stretcher bar, but this does not affect the overall image. There is a tiny, pinhole sized dent in the lower right corner that is only visible under extremely close inspection. The paint layers are healthy overall. There is some extremely light cracking to pigments at areas of thicker impasto (all stable and consistent with the age of the work), but this is only visible upon very close inspection and under bright light. Examination under ultraviolet light reveals no sign of restoration as viewed. 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.
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A cradle of rich culture and bountiful art, Yogyakarta served as a sacred enclave for many artists affected by the socio-political problems nearing the 1950s. The city embraced a community of eclectic modern artists, one of whom was Affandi, the father of Modern Indonesian art who was widely celebrated for his flair in the expressionist style. A major proponent of a new vision of Indonesian art that encapsulated the true spirit of its people, Affandi produced works devoted to the authentic, Indonesian life. In an effort to shatter the rose tinted glasses of the Mooi Indie artists who created romanticized images of Indonesia, Affandi encouraged artists to paint the candid realities of life in his country. Along with various other progressive Indonesian artists, he stimulated the birth of an aesthetic movement, the Lembaga Pelukis Rakyat (the People’s Painters Association). Though his style was expressive, he considered himself a realist who sought to portray the realities of the world around him. His paintings of Java, in particular, served as expressions of his nationalistic values and fresh ideals for the aesthetics of his newly independent nation.

Situated in Yogyakarta, the Borobudur is the world’s largest Buddhist temple, which has long been adulated by artists and pilgrims alike for its architectural and spiritual significance. Borobudur and the Sun reveals Affandi’s aptitude for capturing the essence of a subject through his own expressive interpretation. The artist once said, “I too like beautiful things, but they do not necessarily provide inspiration for my work. My subjects are expressive rather than beautiful.”¹ He seamlessly blends these aspects into the present lot, in which he presents the temple in its glorious entirety. Viewed from afar, the colossal sanctuary stretches horizontally across the picture plane, below a gargantuan sun.

The sun, considered a vital ‘Life Force’ for Affandi, expands dramatically as it spreads its yellow beams, permeating the work with vivacity. The true source of energy that perpetuates existence, the sun is a motif that resonated deeply within the artist, for it is ubiquitously included in his works. Affandi applied varying colors to constitute the sun, based on the level of heat it would have exuded on the day he painted it. Unlike the scorching orange suns that frequent his works, the sun in the present lot is delineated with a calm blue, perhaps suggesting that it was a cool afternoon in Yogyakarta. In the present lot, it is at once translucent and empowering, exuding rays of yellow that bounce off the crevices and protrusions of the magnificent temple, illuminating its finely sculpted walls. It hovers against a dramatic sky, enlivened by buoyant, blue clouds that appear to dance above the splendid structure. Comparable to the sinuous lines Van Gogh utilized to represent natural formations, the swirling brushstrokes of the clouds in the present lot infuse a distinct rhythm, vitality and soul to the scene, allowing the artist to express his feelings in a tactile manner. Nature appears to rejoice this sacred pyramid, which has basked under its watch since its erection in the 9^th century.

While the sunlit surface of the shrine and its gentle tonal gradation accentuate the textural qualities of its relief sculptures, the thick impasto and bold strokes capture the tall ridges of its stupas. The artist juxtaposes bright hues of yellow, green, and blue against the earthy, dark colours of andesite rock, which comprises the structure, emphasizing its arresting silhouette. Such ornate detailing contributes to the divine nature of Borobudur, as the pyramidal monument appears to rise towards the heavens. The artist conveys a peaceful harmony between the ancient, man-made structure and its natural surroundings, creating a sense of permanence and stability.

Affandi would meticulously study his subjects before painting, waiting patiently for a moment of inspiration, when his emotions would reach its pinnacle. As manifest in this sprawling work, Affandi’s archetypal modus delivered his works with a viscous, textural impasto and three-dimensional quality, which affected his employment of color, shape and line. As an autodidact artist, Affandi mastered academic painting with verisimilitude after having garnered the fundamentals of anatomy and perspective from merely observing an Italian artist in Bandung. By merging these scrupulous rules with expressions of his own, simmering emotions, Affandi essentially invented his own form of naturalism: one pulled from the reality he witnessed before him, filtered through sentiments he felt. The end result is a powerful work that showcases a chaotic mix of colours and vivid lines. Described by British art critic Eric Newton as a “perfect example of the Expressionist,” Affandi was “wilder than Kokoschka, as human and passionate as Van Gogh.”²

Amongst the plethora of themes Affandi depicted within his opus, the Borobudur stands as one of the rarest subjects. There are only a few known works of this hallowed temple produced within his oeuvre, and Sotheby’s is privileged to offer one of the largest and most extraordinary works that capture this sanctified subject. Upon viewing this work, which was painted just six years prior to his death, it is evident that Affandi’s highly instinctive manner of painting allowed his oeuvre to grow steadily beyond reality, ultimately metamorphosing into a visual reflection of the cosmic nature of things. Borobudur and the Sun truly a provides a “unity with the cosmological forces through art³”, with the temple itself seemingly ascending into the sky, attempting to commune with the divine.

¹ Sardjana Sumichan, ed., Affandi: Volume III, Singapore Art Museum, Singapore, 2007, p.22

² Refer to 1, p.10

³ Sardjana Sumichan, ed., Affandi: Volume II, Singapore Art Museum, Singapore, 2007, p.43