Heri Dono

Heri Dono


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Heri Dono is an Indonesian visual artist as artist painter, sculptor, and installation artist.

Life and work

Dono was born in Jakarta on July 12, 1960. He studied at the Indonesian Art Institute (Institut Seni Indonesia) in Yogyakarta, where he won the Prize for the Best Painting in 1981 as well as in 1985. He presented his work worldwide in a great number of solo and group exhibitions.[1]

He is mainly active as an installation artist, and works with materials that come from varying places in the world. In his work, known influences can be noticed, like the life of the ordinary man, wayang kulit, becak driver and tau tau sculptures of the Toraja in Sulawesi.[2][3]

Dono, who lives and works in Yogyakarta, mixes humoristic comments in his work on political and social problems in Indonesia. In 1998, he won a Prince Claus Award.[1][2][4]

His style is often placed in the art form of new internationalism, which is a recent art form of artists in the world that challenge the Western hegemony of art, in contrast with the New Art Movement in the seventies and eighties that chose in favor of a Western expressions in art, with it taking leave of local traditions.[1]

Solo exhibitions

  • 1988: Cemeti Contemporary Art Gallery, Yogyakarta, Indonesia; Mitra Budaya Indonesia Gallery, Jakarta, Indonesia; Bentara Budaya Gallery, Jogjakarta, Indonesia
  • 1991: Unknown Dimensions, Museum fur Volkerkunde, Basel, Switzerland.
  • 1993: Canberra Contemporary Art Space, ACT, Australia
  • 1996: Blooming in Arms, Museum of Modern Art, Oxford, England.
  • 2000: Dancing Demons and Drunken Deities, The Japan Foundation Forum, Tokyo, Jepang
  • 2001: Trap’s outer Rim, Cemeti Art House, Jogjakarta, Indonesia
  • 2001: Fortress of the Heart, Gajah Gallery, Singapore
  • 2002: Interrogation, Center A, Vancouver, Canada
  • 2002: Heri Memprovokasi Heri, Nadi Gallery, Jakarta, Indonesia
  • 2002: Free-DOM, Bentara Budaya, Jakarta, Indonesia
  • 2002: Reworking Tradition I & II, Singapore
  • 2003: Upside Down Mind, CP Artspace, Washington, VS
  • 2003: Heri Dono, Australian Print Workshop, Melbourne, Australia
  • 2003: Perjalanan Spiritual Heri Dono, Galeri Semarang, Indonesia
  • 2004: Who’s Afraid of Donosaurus?, Galeri Nasional Indonesia, Jakarta
  • 2006: Broken Angels, Gertrude Street Gallery, Melbourne, Australia
  • 2009-10: Critical Art from Indonesia, Tropical Museum, Amsterdam
  • 2011: “Madman Butterfly”, Rossi & Rossi, London

Delsy Syamsumar

Delsy Syamsumar



Delsy Sjamsumar or Delsy Syamsumar was the only Indonesian painter that was acknowledged by The France Art and History Institution through the world art literary “France Art Journal 1974” as the best South East Asia painter with a huge talent such as painter, comic illustrator, designer, film story board, art director, production designer and so on.

In that journal it was said that Delsy was “II’exellent dessinateur” and“Literature’s Contemporaines L’ Azie du Sud Est. (An excellent designer” and “The best literature contemporer in South East Asia.”

In addition as an illustrated story painter and a talented illustrator, he also used to be awarded as the best Asian Art Director through his film entitled Holiday in Bali, directed by H. Misbah Yusabiran in Asian Film Festival in Tokyo in 1964, during the Summer Olympic in Japan.

A lot of his works illustrate many famous Indonesian mass media such as Kartini magazine that it logo was made by him, Aneka, Vista, Caraka, Singgalang, Pos Kota, Pos Film, Majalah Film, Senang, Misteri, Amanah, Idola, Anita and many more. Delsy’s works were not only oriented on some media but they also reached to the complex media that never been done by other South East Asia painters, such as Indonesian airway company’s logo “Bouraq Indonesia, the old Pertamina’s logo of sea horse, tissue design package, condom package, soap, book cover to the Minang traditional house logo that currently spread out was one of his works. He also well known as a sculptor whether for monument, sculpture for film stuntman, etc.

There were many comics he made such as Mawar putih, Bajak Laut Aceh, Pertempuran Lima Hari Lima Malam di Palembang, Mat Pilun, Tonggeret, Indonesian epic comic such as: Diponegoro, Sentot Alibasya, Sultan Hassanudin, Christina MT, Tuanku Imam BonjolCut Nyak Dien and there were still many more of his works. His comics were collaboration between classic and modern paint art that represented Indonesian people in common between 1957 to 2001.

Painting exhibition that was performed together (biennale) with Indonesian famous painters such as Basuki AbdullahSudjoyono and so on in Jakarta in 1986 raised Delsy’s name further because his works were sold more, the most expensive and interested by local and foreign painting lovers.

At that time, painting observers analyzed that the factors motivated his painting buyers was lied on his creativity that able to express Indonesian society situation that lived on porches of stores and shops and sidewalk of the dirty downtown that full of reality in New Era of Indonesian goverment or Suharto’s Goverment (orde baru).

Delsy was born in Medan and his parents come from Bukittinggi, Sumatera Barat in 1935. He was an Indonesian painter that learnt to his teacher, Wakidi, a leading painter in orde lama era.

In the middle of Japanese comic and animation invasion that attack Indonesia nowadays. Comic and animation observer, ombushman, Indonesian publisher began to miss works as in Delsy Sjamsumar strike again to wipe his brush on the paper. His works was vulgar through its era. So that he was often reminded by ulama, religious leader and society observer to Indonesian politician.

In the world of cinema, there were movies that he took apart such as Malam Jahanam, Kemelut Hidup,Saur Sepuh, Bernafas dalam Lumpur, Sebelum Usia 17, Jangan Sakiti Hatinya, Live love and tears, Buaya Deli, Jayaprana, and so on.

He passed away on his first wife’s lap “Adila” in 2001 in Jakarta, Indonesia and left 9 children and 5 wives that used to marry with him.

Of course for Indonesian society that used to see and observe of Delsy works, appreciate his magnificent works, and no wonder if Delsy’s works were protruded as the painting and illustration of “Indonesian Art Identity”. It was expected that new Delsys would come up and able to show their ability in the world of comic and animation just like Japan that represented Osamu Tezuka or America that represented Disney. (V. Dermawan).




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Yunizar[1] (born June 1971) is a prominent Indonesian artist. He was born in Talawi, West Sumatra, Indonesia. He graduated in 1999 with a degree in Fine Arts from Indonesian Institute of the Arts, Yogyakarta (ISI), a school of national pride and the heart of progressive art-making in Indonesia. Creativity and change are the forefront of the school’s agenda and this is evident in Yunizar’s work ethic. Yunizar’s training reveals itself in his sophisticated expressive style, articulated through a playful composition and subtle palette. Executed primarily in acrylic and pencil, his works stand out in terms of texture, colour, brushwork and rhythm. A restrained palette of cool colours- yellows, browns and greens- is deliberately dirtied and smudged in his working and reworking of the canvas. The result is a highly tactile work that entices the viewer to feel the piece.

Born a Minang, Yunizar felt at home at Yogyakarta and decided to remain in the city with his wife and children after graduation.[2] There, he co-founded the Jendela Art Group, Jendela which means window in Bahasa Indonesian, together with his Minang peers namely Handiwirman Saputra, Jumaldi Alfi, Yusra Martunus and Rudi Mantofani. Jendela Art Group is Indonesia’s most prominent contemporary art collective and has participated in numerous group and solo exhibitions in Indonesia, Hong Kong and Singapore. In 1995, he was awarded “Best Painting” from the Peksiminas lll Exhibition in Jakarta and in 1998, he was awarded “Top 10” from the highly prestigious Phillip Morris ASEAN Art Award V.

Yunizar’s subjects are often close to his heart and everyday life, simple and recognizable. Yet beneath this simplicity lies a deeper theme. To a casual observer, his titles for his works may appear uninspired. But upon delving deeper, one will find that they often provide a hint of mystery to his portraits whilst adding an element of cynicism.[3] He [4] is a painter whose works may be described by an attempt to advance his preoccupation for still-life. Bottles, potted-cactus, apples and other elements are painted singly, and later reproduced in simplified outlines, eventually multiplying exponentially as minuscule elements on a vast canvas, as crammed two-dimensional landscapes choking on its own reproductive capacity. At other times he obliterates this multiplicity, displacing it with a single figure, or a head, unsmiling, disfigured and consumed by a sense of estrangement or exile. In a distinctive series Coretan (Marks), lines and markings are deployed as frantic utterance. Obfuscating and never declaring any form of intent. However, the sense of narrative is kept remaining in the fringes of the frame, is eternally held in anxious tension. One of Indonesia’s most dynamic new artists, Yunizar [5] draws from a rich heritage to create images that evoke memories of dreams and myths as well as the mundane.




Catatan Pinggir (2007)


Bunga Silver II


White Scribblings

Yunizar spent his formative years at the Indonesian Institute of Arts in Yogyakarta.[6] This is a school of national pride and the heart of progressive art-making in Indonesia. Historically, Yogyakarta is the seat of traditional, global and popular fused in a fertile and stimulating environment, culminating in an art scene that is bold and original. Yunizar’s training and maturity shines through with his palette make-up; faded colours, sun bleached and weather fatigued. The colours reflect his surroundings in Indonesia and remains a constant theme in his works. This restrained palette of yellows, browns and greens is juxtaposed with society’s craving for all things new and bright. It hints at his desire to deconstruct the audience’s notions of beauty, and how it is composed. For Yunizar, beauty in art comes through complex compositions that introduce different ways of perceiving things.

Preferring to play with empty spaces, his paintings carry his signature abstract style with a focus on texture that invites the viewer to reach out for a feel. He understands and manipulates materials, working primarily in acrylic and pencil, artfully building volume and anti-rhythm with his brushwork and setting forth impressions through contrast and lines, forms and colours.

Coretan: Recent Works by Yunizar Exhibition

Coretan, Yunizar’s Solo Exhibition at the National University of Singapore Museum in 2008 became the cornerstone of the artist’s signature style. The ‘coretan’ paintings, a series which began from the late 1990s, may be said to be frustratingly elusive, delightfully enigmatic. These works are composed of illegible scribbling, rendered in lines repeated across the canvas. The scribbling appears as fragments of text, a diarylike parchment of thoughts that struggles to find form or intelligible representation.[7]

The repetition and technique in scribbling marks a desire for meaning to be limitless in perspective. The spontaneous lines are a reflection of the artist’s inhibition with the constricting form both text and image sometimes takes. The works are composed of illegible scribbling in lines across the canvas, appearing as fragments of text that struggles to find form or intelligent representation. Working with limited color, mostly monochromatic, his works reveal a play of lines and textures coming together to create clear rhythms and strong composition. The simplicity of visual elements within his works, according to Yunizar, is the result of a personal aesthetic judgment. He seeks beauty, especially in the trivial and in what is deemed by all else as useless and unimportant. To capture intuition and impulse, that is the great aim of the artist.

Also, there is a long history of oral traditions or Sastera Lisan within the Minangkabau culture. A need to seek narratives in its various forms has always been at the center of the pidato adat (ceremonial orations) which is at the heart of the Minangkabau culture. This is evident in the Coretan series, where the method space used is crucial to narrative. The position of poetic prose within the swirl of lines overwhelming the canvas belongs to a need to release self from the outlines of what has been constructed before. There is an unwillingness to allow the silence to form markers that leave the audience with a contained reading. Instead the abstraction acts as a sensation without an end.

Collaboration with Yogyakarta Art Lab

YAL is Gajah Gallery’s major initiative based in Yogyakarta; Indonesia’s up and coming art hub, co-founded in April 2012 by Yunizar, and Jasdeep Sandhu, owner of Gajah Gallery. Its first artistic collaboration was with Yunizar itself, the Lab was set up to reach out to all artists based in Indonesia.

While at YAL, Yunizar worked on a new project which included six pieces made of bamboo and banana leaf paper coated with a natural resin. The creation of Yunizar’s works utilized experimental production methods and new material and textural combinations, including molten-metal, thick paper (made by hand at YAL by Hungerford), as well as colors created with local materials, including dyes more commonly used in batik production. In the process of creating these works, Yunizar laid hot metal onto the thick pieces of hand-made natural paper, manipulating the fibers during the drying process, synthesizing the simple depictions of his everyday life in Indonesia with new elemental properties and visual textures. The result is a series of multi-textural works, two of which were presented at Art Stage Singapore 2013.[8]

Yunizar’s most recent collaboration with Yogyakarta Art Lab saw him creating a series of bronze sculptures, which described by himself as a natural step to take in his artistic practice, to open up a new avenue for his creative expression.[9] These works were first showcased during his solo exhibition held at Gajah Gallery in November 2014. By harnessing the expertise and equipment rendered by YAL, Yunizar, alongside the technicians at YAL experimented with metal casting which took a considerable amount of time perfecting. The end product is a series of 2-sided bronze sculptures that capture the enigmatic canvas protagonist of the artist.

Tio Tjay

Tio Tjay



Tio Tjay (born 1946 in Jakarta as Tio Hok Tjay) was an Indonesian painter who for a long time has reside in Brazil. At a very young age, young Tio Tjay enjoy studying Chinese painting and calligraphy. His talent for art was already sensed by people at youth.[1]

In 1967 he immigrated to South American with his family. He held many exhibitions, from São Paulo, Rio de Janeiro, Brasilia and even Paraguay. In 1971 till 1975 he resided in Manaus, where he befriend with many natives, which gives him an opportunity to enter the Amazon. It is Amazon Rainforest that really inspire him to draw painting about nature. In 1976, he moved back to São Paulo and participate in the exhibition of Bienal Nacional de São Paulo.

1980’s was a great decade for Tio Tjay. He was invited to join an exhibition in Italy which was held in Naples for a cultural relationship between Brazil and Italy. A few years later, he was again invited to Tukuyama, Japan for a collective exhibition. And in the same year, he returned to Indonesia and worked in his birth country.

Tio Tjay’s strong painting is affected by the Latin colours that was dominant in Brazil. In Indonesia, he created unique style of art pieces by combining the brave colours of Latin, with an oriental style, applied in the wondrous Indonesia and the exotic and mysterious Amazon.

Sudjana Kerton

Sudjana Kerton


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Sudjana Kerton (22 November 1922 – April 1994) was an Indonesian painter. Born at Bandung in the midst of political transition of the country from the Dutch colonial era to the independent republic of Indonesia, Kerton’s paintings exhibited the revolutionary era of Indonesia. He was an artist of a generation that was globally aware, politically active, and intensely involved with aesthetic and formal questions. Kerton is recognized as one of Indonesia’s most original and controversial artists.



As a young man, Kerton had many interactions with both Indonesians and Dutch residents. After Indonesian independence, Kerton joined with other artists working with the new national government of Soekarno, and became an artistic journalist. His drawings documented the Indonesian independence efforts on the battlefield, at the negotiation table, and in secret underground meetings.

During the Indonesia revolution period, Kerton’s ideology went along with the anti-Dutch movements that he had to move from Jakarta to Yogyakarta. Through his sketches and drawings, he immortalized several important historical events, including the sovereignty transfer from the Dutch to Indonesia in 1949. His fierce sense of nationalism carried over into his work, and many of his paintings convey a sense of pride in his country.

In the early 1950s, Kerton studied art and life in very different cultures in Europe, including the Netherlands and France.[1] He also visited Mexico, where he studied the role of artists during the Mexican revolution. Kerton studied at the Art Student League at New York City, where he learned from Yasuo Kuniyoshi and Harry Sternberg. Kerton’s woodcut entitled Homeward was chosen by the UNICEF for their Christmas card in 1964. The woodcut depicts a family returning home from a daily work at the fields.

Kerton settled in the New York City, married, and raised a family. He returned to Indonesia in 1976. Everyday life in Indonesia became his constant theme, in which he put tones to bold colors and vivid scenery.

Raden Saleh

Raden Saleh


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Raden Saleh Sjarif Boestaman (1811 – April 23, 1880)[1][2] was an Indonesian Romantic painter of Arab-Javanese ethnicity who pioneered modern Indonesian art. He was considered to be the first modern artist from Indonesia (then Dutch East Indies), and his paintings corresponded with nineteenth-century romanticism which was popular in Europe at the time. He also expressed his cultural roots and inventiveness in his work.


Early life

Raden Saleh was born into a noble Hadhrami family. He was the grandson of Sayyid Abdullah Bustaman on his mother’s side. His father was Sayyid Husen bin Alwi bin Awal bin Yahya, an Indonesian of Arab descent.[3]

Travel to Europe

Young Raden Saleh was first taught in Bogor by the Belgian artist A.J. Payen. Payen acknowledged the youth’s talent, and persuaded the colonial government of the Netherlands to send Raden Saleh to the Netherlands to study art. He arrived in Europe in 1829 and began to study under Cornelius Kruseman and Andries Schelfhout.

It was from Kruseman that Raden Saleh studied his skills in portraiture, and later was accepted at various European courts where he was assigned to do portraits. While in Europe, in 1836 Saleh became the first indigenous Indonesian to be initiated into Freemasonry. From 1839, he spent five years at the court of Ernst I, Grand Duke of Saxe-Coburg-Gotha, who became an important patron.

From Schelfhout, Raden Saleh furthered his skills as a landscape painter. Raden Saleh visited several European cities, as well as Algiers. In The Hague, a lion tamer allowed Raden Saleh to study his lion, and from that his most famous painting of animal fights was created, which subsequently brought fame to the artist. Many of his paintings were exhibited at the Rijksmuseum in Amsterdam. Several of his paintings were destroyed when the Colonial Dutch pavilion in Paris was burnt in 1931.

Return to Dutch East Indies


Raden Saleh’s house in Cikini.

Raden Saleh returned to Dutch East Indies in 1852,[4] after living in Europe for 20 years. He worked as conservator for the colonial collection of government art and continued painting portraits of the Javanese aristocracy, and many more landscape paintings. Returning to Java, he expressed his uneasiness of living in the colonies, stating that “here, people only talks about coffee and sugar, then sugar and coffee.” in one his letters.[5]

Upon returning, Saleh built a house in Cikini, based on the Callenberg Castle where he had during his European travels c. 1844. Surrounded by vast grounds, most of the them were converted into public gardens in 1862, and were closed in the turn of the century. In 1960, the Taman Ismail Marzuki was built in the former gardens. The house itself is still used today as a hospital.[4]

He married a young aristocratic woman of Yogyakarta Sultanate, Raden Ayu Danudirdja, in 1867 and subsequently moved to Bogor, where he rent a house near Bogor Botanical Gardens with a view of Mount Salak. He later took his wife to travel in Europe, visiting countries such as the Netherlands, France, German, and Italy. His wife however contracted an illness while in Paris, the exact illness is still not known, and was so severe that they both immediately returned to Bogor.[6] She died on 31 July 1880,[6] following her husband’s death three months earlier.


On Friday morning, 23 April 1880, Saleh suddenly fell sick. He claimed that he was poisoned by one of his servants, but later examination showed that his blood flow was disrupted due to a clot near his heart. Saleh was buried two days later in Kampung Empang, Bogor. As reported in Javanese Bode newspaper, 28 April 1880, his funeral was “attended by various land lords and Dutch officials, and even by curious students from nearby school.”[6]


Raden Saleh in 1872


During his stay in Paris, Saleh met Horace Vernet whose painting frequently took themes of African wildlife. Compared to Vernet, Saleh’s painting seems to be more influenced by the romantic painter Eugène Delacroix. This could be seen in one of Saleh’s work, Hunting Lion, 1840, which has similar composition to Delacroix’s Liberty Leading the People. However, Werner Kraus, a researcher in the Southeast-Asian Art Center of Passau, German, said that Saleh “never mentioned Delacroix. Perhaps he saw Delacroix’s, and possibly Vernet’s, works during an exhibiton.”[7]

The Arrest of Pangeran Diponegoro


The Arrest of Pangeran Diponegoro, 1857, Merdeka Palace Museum, Jakarta.

Raden Saleh is particularly remembered for his historical painting, The Arrest of Pangeran Diponegoro,[4] which depicted the betrayal of the colonial government to the rebel leader Prince Diponegoro, thus ending the Java War in 1830. The Prince was tricked into entering Dutch custody near Magelang, believing he was there for negotiations of a possible cease-fire. He was captured through treachery and later deported.

The event had been previously painted by a Dutch painter Nicolaas Pieneman, commissioned by Lieutenant General Hendrik Merkus de Kock. It is thought that Saleh saw this painting during his stay in Europe. Saleh made significant changes in his version of the painting; Pieneman painted the scene from the right, Saleh from the left. Pieneman depicts Diponegoro with resigned expression, while in Saleh’s he appears to be outraged. Pieneman gave his painting the tittle Submission of Prince Diponegoro, while Saleh gave The Arrest of Pangeran Diponegoro. It is known that Saleh deliberately painted Diponegoro’s Dutch captors with large heads to make them appear monstrous, as opposed to the more proportionally depicted Javanese.[4]

Raden Saleh’s work has been regarded as a sign of incipient nationalism in what was then the Dutch East Indies.[8] This can also be seen it the depiction of Diponegoro’s men. Pieneman had never been to the Indies, and so depicted Diponegoro’s men in a more Arabic fashion. Saleh’s version has a more accurate depiction of native Javanese clothing, with some figures wearing batik and blangkon.

Saleh finished this painting in 1857 and presented it to Willem III of Netherlands in Den Haag. It was returned to Indonesia in 1978 as a realization of a cultural agreement between the two countries in 1969, regarding the return of cultural items which were took, lent, or exchanged to the Dutch in the previous eras. However, the painting did not fall under any of those category because Saleh presented it to the King of Netherland and was never in the possession of Indonesia. It was returned as a gift from the Royal Palace of Amsterdam, and is currently displayed at the Merdeka Palace Museum in Jakarta.[4]

Mochtar Apin

Mochtar Apin


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Mochtar Apin (1923 – 1994) was an Indonesian painter.

He was co-founder of the Gelanggang Seniman Muda (Arena of Independent Artists) movement in Jarkarta in 1946 and a member of the Bandung School. Alongside other painters, intellectuals and poets, he advocated a universalist ideal for culture, advocating the creation of art concerns that could communicate to people of all backgrounds. Mochtar was well travelled and for seven years of his life, from 1951 to 1959, he took the initiative to journey around Europe looking at art and visiting museums. With such knowledge, Mochtar was well equipped to debate on the role of art in Indonesia.

Lee Man Fong

Lee Man Fong


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Lee Man Fong (November 14, 1913 – April 3, 1988) was a painter born in Guangzhou, China. His father, a merchant with ten children, brought him to Singapore. When his father died in 1930, Man Fong had to work hard to earn a living for his mother and siblings using his skill in painting ads and artwork. However, that was not enough for him. In 1932, he moved to Jakarta, Indonesia. The tension between nationalist groups such as Persagi (Persatuan Ahli-ahli Gambar Indonesia, or Association of Indonesian Draughtsmans) and Indische-Holland kunstkring community stimulated him. In 1942, Man Fong was jailed because of his opposition to Japanese colonialism in Indonesia. After six months in jail, Takahashi Masao helped him gain freedom. This Japanese officer was interested in his artistic potential.

In 1946, President Sukarno heard about him when he had his solo exhibition in Jakarta. Sukarno then knew that Man Fong was given a Malino scholarship from Van Mook, the Netherland lieutenant-governor general. In Europe, many of his exhibitions were successful. He briefly returned to Indonesia, and went back to hold exhibitions from Den Haag to Paris. In 1952 he returned to Jakarta. The visit from Sukarno and Basuki Abdullah, the official palace painter at that time, encouraged him to establish Yin Hua in 1955. Yin Hua was an organization of Chinese painters that had its office on Lokasari Street, Jakarta. Many art exhibitions were organised by Yin Hua. In 1956, Yin Hua was invited to hold exhibitions in China.

The relationship between Sukarno and Man Fong improved. His beautiful and perfect works matched with Sukarno’s taste. For him, Man Fong’s art was an escape from revolutionary spirit. Sukarno didn’t have any particular theme preference in art. Only ten percent of all his collections had a nationalist theme. “A thing of beauty is a joy forever,” was his remark about his taste on art. Therefore, when Basuki Abdullah suggested to him to appoint Man Fong as the next presidential painter, Sukarno agreed to it without hesitance.

Source: Kompas, June 1, 2001, an article by Agus Dermawan T.

Ida Bagus Made

Ida Bagus Made


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Ida Bagus Made Poleng (1915–1999) was a traditional Balinese painter. Known also as Ida Bagus Made Poleng or Ida Bagus Made Tebesaya or simply Gus Made.



He was born in Tebasaya, Ubud, Bali in 1915. Ida Bagus Made came from a Brahman family of accomplished artists in Tampaksiring, Bali. His Father, Ida Bagus kembeng (1897–1952), was a well known painter who won the prestigious Silver Medal in 1937 at the International Colonial Art Exposition in Paris. Ida Bagus Made first learned painting and carving from his father. He later studied painting under the guidance of Rudolf Bonnet. Bonnet once wrote that Ida Bagus Made was one of the most talented artist in Bali.[1] He was in his teens when the modernization of Balinese art began in the late 1920s, and only 21 years old when he joined the prestigious Pitamaha Artist Guild, founded in 1936 to preserve Balinese art from the threat of tourism and commercialism.

His father, Ida Bagus Kembeng had two wives: Jero Deblog and Ida Ayu Rai. Ida Bagus Made was a child from his second wife. From his marriage with Jero Deblog, Ida Bagus Kembeng had two sons: Ida Bagus Putu Wiri and Ida Bagus Made Belawa. With Ida Ayu Rai, Kembeng had a daughter, Ida Ayu Oka, and two sons: Ida Bagus Made Poleng and Ida Bagus Nyoman Raka.

Ida Bagus Made was married to Gusti Niang and had one daughter, Ida Ayu Sadri. Since Ida Bagus Made did not have a son, he adopted Ida Bagus Pudja, a son of his half brother, Ida Bagus Belawa.

He was known by the Balinese as a ritual specialist for carving sacred masks imbued with magical powers for the surrounding temples of Ubud. As a traditional painter of the Pitamaha generation, he became known worldwide for his artistic mastery.

Ida Bagus Made was a prolific painter who had a profound distrust of art dealers and collectors.[2][3] He scrutinized his admirers and only a handful of collectors passed his test. The late Indonesian President Sukarno was one of such collectors that Ida Bagus Made revered. His works are well sought after and are in the collection of many museums in the world.

He died after an illness in 1999. In 2000, following the artist’s last wish, the widow of Ida Bagus Made loaned over 100 paintings from the artist’s private collection to the Puri Lukisan Museum for safekeeping.[4]


Ida Bagus Made’s paintings are some of the best examples of the Ubud school from the Pitamaha generation, and have not been surpassed by younger painters.[2] His paintings have been acquired by prestigious institutions all over the world, including the United Nations, the Royal Tropical Institute Museum (Amsterdam) and the Royal Ethnographic Museum (Leiden). In Indonesia, his paintings are in the collections of former President Sukarno, the Museum Puri Lukisan, the Neka Museum, the Agung Rai Museum of Art, the Bentara Budaya Museum, and many others.[5]

Several most important work from Ida Bagus Made are : (1) Atomic War in Indra’s Heaven (Ida Bagus Made’ estate in Museum Puri Lukisan). (2) Dancing Leyak (Ida Bagus Made’ Estate). (3)Three Women Shape-Shifters (Ida Bagus Made’s Estate). [4]


Before the Second World War, his paintings were included in many touring exhibitions organized by the Pitamaha Artist Guild. Exhibitions were held in the Kunst-ring (Art Circle) of Batavia (1936, 1937, 1939); Bandung (1936, 1938); Tegal (1938); Medan, Palembang and Surabaya (1939).[6]

After 1945, he stopped participating in any exhibitions. Not until 1998 that he gave a blessing to a solo exhibition organized by Darga Gallery (Sanur, Ubud). The exhibition (14 March – 14 April 1998) featured paintings from the Neka Museum, The Agung Rai Museum of Art and of a handful private collectors. Ida Bagus Made attended the opening of the exhibition. A short catalog, entitled Ida Bagus Made – Mata Air Campuhan Masa Silam, accompanied the exhibition.

In 2001, a posthumous solo exhibition was held at the Herbert Johnson Museum of the Cornell University, Ithaca, New York. The exhibition was curated by Prof. Kaja McGowan of Cornell University. Third teen paintings from three private collectors were shown from August 18 – October 28, 2001. An exhibition leaflet: Suaranya Gong Kebyar: the Balinese Art of Ida Bagus Made was published.[4]

In July 2008, a posthumous solo exhibition was held in Museum Puri Lukisan in Bali. This exhibition features paintings from the estate of maestro Ida Bagus Made Poleng and celebrates the visual artistry of one of the foremost painters of Ubud. Fifty paintings from the estate of the artist was presented to the public for the first time. It is accompanied by a catalog: “Ida Bagus Made – the Art of Devotion”

Kartika Affandi-Koberl

Kartika Affandi-Koberl


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Kartika Affandi-Koberl (born November 27, 1934), is an Indonesian artist born into a family of artists.


Early life

Kartika Affandi-Koberl was born in Jakarta in 1934. She is the daughter of Affandi and Maryati, who were both artists. Kartika became engaged to a young Javanese artist, Saptohudoyo, at the age of fourteen and when she was seventeen they were married. She bore Sapto eight children.

Artistic career

Kartika never received formal art instruction. From the age of seven, she was instructed by Affandi in how to paint with fingers and tubes directly on the canvas. Any mixing of colours is done on her hands and wrists. Kartika has no permanent studio; like Affandi, she prefers to paint outside in the village environment where she interacts directly with her subjects and on-lookers. This contrasts with most contemporary Indonesian painters, who work in their studios from mind-images, memory, photographs or sketches.

In a modern art world born in 1930s, in which men were still the predominant actors, Kartika is one of a small group of women who from the mid-1980s have succeeded in exhibiting their work on a regular basis and in gaining limited critical recognition. Even in this context, Kartika’s art emerges as unique, ranging as it does from conventional to subversive.

In a culture where the individual self rarely is put to the fore, Kartika had made the self-portrait one of her main themes. In a society where emotion is suppressed, both publicly and privately, Kartika fills her canvases with intense feeling. In culture where genitals are considered taboo in representation, Kartika has painted her own nudity graphically and without the prescribed, distancing sweetness, never depicting the body as an object of pleasure, whether that of others or her own.

Not surprisingly given their close bond, Kartika has painted numerous penetrating portraits of her father, right through the last years of debilitating illness at the end of his life. Another provocative portrait, Hindu Priest, shows an old man, close up, as he walks on a beach. His face is preoccupied, intense – a face that might have been taken from an Ingmar Bergman movie. There is nothing here of the glamour, romance or mystical aura that so often characterises images from Bali such as in O.H. Supono’s Balinese Priest.


Following in the populist footsteps of Affandi, Kartika also has a long history of painting rural and dispossessed people such as fishermen, farmers, workers and beggars. Since these individuals pose while interacting with her and exchanging life histories as she paints, these must be considered portraits. Although narrative, her paintings when viewed close up dissolve into strong, abstract statements in energetically applied impasto oils. Kartika’s work ranges from the sweet and idyllic to an expressive realism that can be harsh. The latter is evident in her paintings of beggars, handicapped people and suffering animals and in her uncompromising depiction of the progress of old age, whether painting a stranger, her father, or herself.

The second beginning in Kartika’s artist career occurred around 1980, when she studied painting restoration in Austria to enable her to repair Affandi’s deteriorating paintings. Here, solitude and reflection paved the way for her most unique portraits.