蘇加那·克爾頓

Rizki Akhmad Zaelani、Louise Kerton、Astri Wright，《民族主義及其變化與反思 蘇加那·克爾頓》，Seni Budaya印刷社，印尼，一九九六年，87頁，彩色版19
Koes Karnadi編，《九十九位描畫印尼的藝術家作品選集》，Koes畫集社，峇里，二〇一三年，177頁，彩圖

This work is in good overall condition as viewed. There is some dirt along with accretions on the surface of the canvas, visible at bottom edge, but these are easily removable through a light cleaning. There is some craquelure at areas of thick impasto, some horizontal cracks at the creases of the canvas, and two light scuffs at the top of the figure's head. 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

One of the most important painters of Indonesia’s revolutionary era, Sudjana Kerton is recognized as one of Southeast Asia’s most original and groundbreaking artists. The present work, Affandi Makan Semangka (Affandi Eating Watermelon), is a memorable piece in his oeuvre and demonstrates the artist’s daring experimentations with Cubism. It was produced in 1962 during Kerton’s interlude in New York City in the 1950s and 60s. The work undoubtedly demonstrates Kerton’s exposure to modernism in Western art and his admiration for cubism and surrealism. As its title suggests, the portrait depicts Affandi, one of Kerton’s contemporaries and close friends, enjoying a slice of watermelon.

Affandi Makan Semangka is an obvious visual nod to Synthetic Cubism, an artistic movement pioneered by Pablo Picasso and Juan Gris. This is perhaps most pronounced in Kerton’s use of bold, thick facet lines to divide the canvas into a number of curvilinear, geometric planes, giving rise to a sense of figural distortion characteristic of the genre. Other formalist aspects of the work bespeak Kerton’s deep engagement with Synthetic Cubism. Kerton’s distinctive use of modernist space in his work, marked primarily by the confusion of figure and ground as well as the continual transposition between negative space and positive form, is nothing short of masterful: there is no concrete distinction Affandi’s central figure—itself constituted by various boldly-colored planes—and the background of the painting, undermining the sense of perspectival space.

Despite its conceivably Western artistic influences, Affandi Makan Semangka remains deeply indebted to its Indonesian roots. Kerton himself acknowledges that, “Living in the United States only strengthened my conviction to paint Indonesian subjects.” The painting is an homage to Affandi, another giant of modern Indonesian art. Having initially met Affandi during the revolutionary years in Yogyakarta, Kerton became close friends with Affandi in New York, bonding over their shared Sundanese roots. This present work, in particular, is notable for its intertextual relationship with Affandi’s oeuvre: Kerton’s painting references Affandi’s Crabs and Watermelon (1962) and alludes to the latter artist’s fondness for the fruit; years later, Affandi directly references Kerton’s portrait of himself in his own sensational Self Portrait, Eating Watermelon (1976), Makan Semangka Kegemaranku (Fondly Eating Watermelon, 1977), Makan Semangka (Eating Watermelon; 1980) and Saya Makan Semangka (I Eat Watermelon; 1983). Despite its straightforward subject matter, Kerton’s Affandi Makan Semangka represents a tender moment of bonding between two of Indonesia’s greats in a foreign land, at once evincing both a nostalgic affinity for Indonesia and a unwavering conviction in the distinction of its artistic heritage.