阿凡迪

於1952年直接購自藝術家
自此由現藏者家族收藏
私人收藏，瑞士

The work is in good condition overall, as is the canvas, which is clear and taut. There is minor wear and handling along the margins of the painting, but paint-layers and impastos are healthy and intact. Upon close observation, there is evidence of gentle craquelures predominantly on the lighter paints and thicker impastos (ie. the sky and white paints). Examination under ultraviolet light shows minor touch-ups sprinkled on the white paints, along the top, bottom and left borders, and repairing of the canvas on the bottom right corner (underneath the signature). However, this is not visible with the naked eyes. 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."

In 1952, art historian John Berger praised the originality of Affandi’s paintings, writing, “… ‘Art’ in the West has become inflated at the expense of life. Aesthetics have triumphed over vitality. [Affandi’s] paintings redress the balance. They are the result of participation rather than contemplation, action rather than introspection. They are not concerned with Taste, for Taste completes and isolates.”¹

Affandi, a founding father of Indonesian modern art, brought a fresh vitality to his paintings with his bold colors and passionate, dynamic strokes. His painting process is participative in that he squeezed paint directly on the canvas and used his hands to manipulate the paint. In terms of “taste”², Affandi’s works are definitely not isolated by a certain artistic preference, for his paintings speak to everyone.

The universality of Affandi’s paintings springs from his artistic philosophy. While he is generally acknowledged as an expressionist, Affandi once admitted, “I’m actually a naturalist through and through; I love all things natural.”³ The public, understanding naturalism as a realistic depiction of the natural world, the opposite of expressionism, was confused as to why Affandi would describe himself as a naturalist. What Affandi meant, however, was that he had a love for nature and believed in its strength and force. Affandi himself explained, “I want to capture such signs, the signs of the natural forces…”⁴

Fishing Boat on Elliot’s Beach, Madras, the present work, is a clear expression of Affandi’s naturalism. The breaking waves, the clouds looming above and the vast ocean in the distance are all natural phenomena indicative of greater forces. Affandi’s light impasto, directional marks, and swirling strokes infuse the landscape painting with vigorous motion. In contrast, the fishing boat rests on the shore seemingly seconds away from succumbing to these natural forces.

The seascape that Affandi depicts is, in fact, Elliot’s Beach in Chennai, India. From 1949-1952, Affandi was in India for a two-year study scholarship, during which he painted the present work. When Affandi arrived to India, the program’s art director deemed it unnecessary for Affandi, an already skilled painter, to study art. Instead, Affandi received the scholarship grant to use for travelling and painting around India. During this time, Affandi developed his language of painting. While he had to be frugal with paints in Indonesia, his ample supply of paint in India allowed him to develop his signature tube squeezing technique. It was in India that Affandi discovered how painting out of the tube allowed him to work directly from and at the speed of his emotions, his creative fuel.

Fishing Boat on Elliot’s Beach, Madras provides us insight into this transformative and transitional time in Affandi’s career. Although only at the beginning stages of mastering his technique, Affandi painted the present work with the same vitality and active participation that permeate his entire oeuvre. This landscape painting reveals that the passion in each of Affandi’s rhythmic strokes originates in a humble philosophy: nature’s remarkable forces affect us in ways we might not fully comprehend.

¹ Sardjana Sumichan, Affandi, Vol.1, Singapore Art Museum, Singapore, 2007, p. 24

² Refer to 1, pg. 33

³ Refer to 1, pg. 40

⁴Refer to 1