盧斯里

Gifted from the artist to the late Mr. Ali Sadikin
Private Collection, Indonesia

This work is in good overall condition as viewed, and the paint layers are healthy overall. There is evidence of some light wear along the edges of the work, due to abrasions with the frame, but this does not affect the overall image. Examination under ultraviolet light reveals no sign of restoration as viewed. Framed.
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It can be said that, of the Indonesian artists who sought to redefine their country’s artistic expression and regain their identity from the Europeans’ popular Mooi Indie (Beautiful Indies) aesthetics, Rusli was one individual who found minimalism had a greater impact aesthetically than having the narratives filled with bold, patriotic images. His paintings focused on distilling the visual properties of the subject matter, until only the bare essence of the object remained visible. He was known to leave most of the canvas empty, rather having the composition be a series of brushstrokes and select colours. This expressionistic style was also reflective of his nationalistic ideals. Rusli was actively involved in Indonesia’s fight for independence, and like his paintings, the artist was equally brash and passionate in revolutionary spirit.

Rusli’s painterly style that would come to define his career was established in the seventies, after a lengthy process of contemplating about the meaning of an object, and how to accurately convey this energy into his own paintings. The present work Festival is a classic piece from his oeuvre, for it contains all the artist’s favoured motifs and aesthetics that defined his career. Rusli often painted Balinese traditional ceremonies that featured parades, live dance performances, and religious offerings. The festive ambience of these moments found themselves redefined in the paintings with vibrant brushstrokes that captured the kinetic energy of the celebrations taking place.

The artist was initially attracted to career in medical sciences, however he soon discovered Indian writer Rabindranath Tagore whose spiritual teachings and writings would have a permanent influence on his creative thinking. Rusli continued his studies in India at Kala Bhawana Department of Art, Shantiniketan University of Rabindranath Tagore from 1932 to 1938, concentrating on painting and architecture, as well as deepening his scholarly knowledge about Tagore and his teachings. Upon his return to Indonesia he became immediately involved in the country’s revolutionary struggle from colonialist power by enrolling as a lecturer at the Indonesian Fine Art Academy (ASRI) in Jogjakarta known for their nationalistic student body.

Festival is a culmination of Rusli’s learned aesthetics and principles. Created seven years after he established his minimalistic style, the painting demonstrates the strength in simplicity and the lasting impression it has upon the senses. The local festival depicted in the narrative is shown in only a fraction of images, the lesser objects displayed to relay the absolute essence of the scene at hand. Bringing the painting together with creative jest is how the artist signed artwork: with his thumbprint and always with red paint and aplomb.