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Pohon dan Andong / The Trees and the Horse Carriages
1975
98 x 131 cm
Cat minyak pada kanvas / Oil on canvas
Affandi juga kerap melukis objek turistik. Salah satunya adalah andong yang merupakan ciri khas pariwisata Yogyakarta. Namun tidak seperti halnya lukisan turistik lainnya yang berupaya menampakkan kekhasan objek yang direkam, Affandi memperluas bidang gambarnya sehingga tampak suasana dan lanskap yang utuh. Penggambaran objeknya yang ekspresif dan terkesan datar juga jauh dari kesan eksotik. Dalam lukisan ini, tampak beberapa andong yang sedang berjalan ditarik kuda dan andong lainnya yang sedang menunggu penumpang. Latar belakang pohon besar dalam lukisan ini mengasosiasikan ingatan kita pada Alun-alun Kidul di sekitar Keraton Yogyakarta.
Affandi often painted touristic objects as well. One such motif was the andong (horse carriage), a typical Yogyakarta touristic symbol. Unlike other touristic paintings which portray the detail of the object, Affandi widened his painting perspective to show the whole situation and landscape. The expressive and flat-mannered drawing of the object is far from exotic. In this painting, there are some andong pulled by horses while the others are waiting for passengers. The background of the big trees alludes to Alun-alun Kidul (the Kidul area) around the Keraton in Yogyakarta (the Yogyakarta Palace).
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Topeng (Barong Landung) / The Masks (Barong Landung)
1975
105 x 128 cm
Cat minyak pada kanvas / Oil on canvas
Lukisan ini merupakan salah satu dari seri barong yang dikerjakan Affandi di Bali. Barong Landung merupakan jenis barong yang termasuk sakral yang digunakan dalam upacara penolak bala oleh umat Hindu di Bali. Dalam salah satu versi, sepasang barong ini adalah perwujudan Prabu Jaya Pangus dan istrinya Kang Cing Wie, putri saudagar Tiongkok yang menikah dengan gadis Bali. Menurut Jero Mangku Gede, barong ini adalah perwujudan akulturasi budaya Tiongkok dengan Hindu Bali. Barong Landung perempuan menggunakan topeng berwajah wanita Tionghoa cantik, sedangkan sang pria menggunakan topeng berwajah seram dengan taring dan kuku panjang sebagai wujud ajaran "Ruwa Bineda" tentang kebaikan dan keburukan.
This painting is one of the barong series that Affandi worked on in Bali. Barong Landung is one of the sacred barongs used in a ceremony held by the Hindu people in Bali to protect them from natural disasters and ward of evil. In one of its versions, this barong couple is the incarnation of Prabu Jaya Pangus and his wife Kang Cing Wie, a daughter of a Chinese merchant who married a Balinese girl. According to Jero Mangku Gede, this barong shows the acculturation of the Chinese and Balinese Hindu cultures. In Barong Landung, the woman wears the face/mask of the beautiful Chinese lady while the man wears the scary mask with long fangs and claws. Barong Landung depicts “Ruwa Bineda”, a religious teaching about good and bad.
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Bunga Matahari I / Sunflower I
1974
100 x 170 cm
Cat minyak pada kanvas / Oil on canvas
Bunga Matahari II / Sunflower II
1975
101 x 171 cm
Cat minyak pada kanvas / Oil on canvas
Seri lukisan bunga matahari dapat dilihat sebagai bentuk kekaguman Affandi pada Vincent Van Gogh, pelukis masyhur Belanda yang sebelumnya juga mengerjakan seri lukisan serupa. Salah satu alasan yang membulatkan tekad Affandi mengunjungi benua Eropa selepas pengembaraannya di India adalah keinginannya untuk dapat melihat secara langsung lukisan Van Gogh di museum-museum Eropa. Affandi jelas mendapatkan pengaruh dari gaya melukis Van Gogh, dan lukisannya kerap dikait-kaitkan dengan idolanya tersebut. Namun menurut Popo Iskandar⎯seorang pelukis yang juga akademisi⎯terdapat perbedaan penting di antara keduanya. Dengan goresan-goresan yang sama kuat, Van Gogh memberikan aksentuasi pada unsur bidang, sedangkan Affandi tetap pada unsur garis. Kedua seri lukisan Bunga Matahari Affandi ini dikerjakan dengan bidang gambar yang lebih lebar dan cenderung panoramik, seolah menunjukkan bahwa dengan “pemakaian tanda-tanda yang sama”, Affandi menantang dirinya sendiri untuk dapat melampaui idolanya tersebut.
The paintings of his sunflower-series depict Affandi’s admiration for Vincent Van Gogh, a famous painter from the Netherlands who created a similar series before. One of the reasons why Affandi traveled to Europe after India was his passion to directly see Van Gogh’s paintings in European museums. Affandi was clearly influenced by Van Gogh and his paintings were often connected to his idol. However, according to Popo Iskandar—a painter and academician—there were several significant differences between them. With the same strong brush strokes, Van Gogh accentuated the element of space, while Affandi accentuated the element of line. Both of the sunflower paintings on display here were created with broad space tending towards the panoramic. By using “the same visual symbols”, it is as if Affandi challenged himself to surpass his idol.
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Sapi Lanang / Bull
1975
100 x 130 cm
Cat minyak pada kanvas / Oil on canvas
Sapi Lanang atau sapi jantan merupakan salah satu dari seri lukisan binatang yang dikerjakan oleh Affandi di Pulau Bali. Dalam kepercayaan agama Hindu, sapi merupakan binatang yang sangat disakralkan. Sapi diyakini sebagai lambang dari ibu pertiwi yang memberikan kesejahteraan kepada semua makhluk hidup di bumi, sehingga manusia diajarkan untuk tidak menyembelih dan memakan dagingnya.
Affandi dikenal memiliki perhatian besar pada isu “perikebinatangan” sebagaimana yang pernah ia suarakan ketika menjadi anggota konstituante hasil Pemilu 1955. Lukisan ini dapat dibaca sebagai simbol penghormatan Affandi pada ajaran agama Hindu untuk memuliakan sapi, sebagaimana halnya memuliakan binatang lainnya seperti kuda atau babi hutan yang kerap ia gunakan sebagai simbol-simbol yang melambangkan kerja keras dan vitalitas.
Sapi Lanang or Sapi Jantan (Bull) is one of the animal series created by Affandi in Bali. In the Hindu religion, cows and bulls are considered sacred. Because they are seen as a symbol of the Earth that gives prosperity to all creatures, people are taught not to slaughter and eat cows.
Affandi was known to oppose animal cruelty, an issue that he voiced as a member of the 1955 Constitutional Assembly, a temporary national body created to review the Indonesian constitution. This painting can be seen as Affandi’s symbol of respect to the Hindu religion that glorifies the bull, as well as other animals such as horses and wild boars that he often used as symbols of hard work and vitality.
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Perahu-Perahu / Boats
1955
87,5 x 111 cm
Cat minyak pada kanvas / Oil on canvas
Objek perahu kerap muncul pada seri “lukisan turistik” yang dikerjakan oleh Affandi. Pada lukisan ini tampak kumpulan perahu yang sedang menepi, sedangkan dari kejauhan terlihat perahu lainnya yang hendak bersandar, dan satu lainnya masih berlayar di lautan. Garis cakrawala tampak jelas terlihat memisahkan bidang lautan biru dengan langit di atasnya. Ombak dan angin yang bergulung memunculkan kesan gerak dalam lukisan ini. Meski objek-objeknya dilukis secara datar, Affandi seolah memberikan kedalaman melalui dimensi objek yang beragam. Dalam melukis lanskap, secara sadar Affandi tidak pernah memiliki intensi untuk memperhatikan ketepatan warna dan perspektif. Sebaliknya, Affandi bertumpu pada ungkapan dari rangsangan situasi alam yang ia rasakan.
Boats as a motif often appeared in the “touristic paintings” series by Affandi. In this painting, there is a fleet of boats pulled up onto the shore, while in a distance other boats are heading in to shore, and one is still sailing. The horizon clearly separates the spaces between the blue ocean and the sky. The whirling waves and wind depict movement in the painting. Though the objects were painted flat, Affandi gave the impression of depth through various object dimensions. In painting landscapes, Affandi never emphasized accuracy of color or perspective. On the contrary, Affandi relied on expressing the feelings nature stirred in him.
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Si Hitam dan Si Putih / The Black and White
1974
105 x 128 cm
Cat minyak pada kanvas / Oil on canvas
Affandi menempatkan perhatiannya pada sabung ayam, tradisi rakyat yang kerap ia temui terutama ketika melukis di Pulau Bali. Lukisan ini menampilkan sebuah adegan pertarungan yang sengit antara ayam jago berwarna putih dan ayam jago berwarna hitam dalam sebuah citraan gerak yang dinamis. Di balik pertarungan ayam tersebut, secara simbolis Affandi mengungkap perjuangan manusia untuk bertahan hidup. Layaknya pertarungan antar lelaki yang tidak dapat dihindari untuk menentukan status sebagai pemenang. Lewat tema ini ⎯yang bertentangan dengan pribadinya yang dikenal sebagai seorang humanis dan pembela “perikebinatangan”⎯Affandi bermaksud mengetuk nurani manusia terhadap kekejaman.
Affandi focused much of his attention on cock fights, a tradition found in several regions in Bali. This painting shows a fighting scene between a white and a black rooster in a dynamic movement. Beyond the painting, Affandi symbolically reveals the struggles of humanity for survival. It's like an inevitable battle to determine the status of the winner. Through this theme—though it was against his personality as a humanist and an “animal lover”—Affandi wanted to nudge people’s conscience regarding violence.
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Ibuku / My Mother
1941
32 x 42 cm
Cat minyak pada kanvas / Oil on canvas
Affandi menampilkan kemahirannya dalam melukis potret naturalis-realis di awal karirnya sebelum beralih menuju impresionisme dan ekspresionisme. Pada lukisan ini dapat kita amati sapuan kuas dan detail-detail kecil yang berhasil membentuk figur seorang ibu yang tampak berusia lanjut, menyilangkan tangan di pundaknya dengan tatapan dan raut wajah dingin yang cenderung bersedih. Rambutnya sedikit menjuntai dan tidak tampak senyum dari bibirnya, memperlihatkan gestur kesedihan yang mendalam. Pada bagian kanan atas lukisan, terdapat tulisan dalam aksara Sunda, “Pileuleuyan Ibu”, yang artinya “Selamat tinggal, Ibu”, mengekspresikan kesedihan dan kerinduan Affandi yang terpaksa meninggalkan ibunya untuk merantau ke Pulau Bali. Lukisan ini merupakan salah satu dari karya awal yang diakusisi menjadi koleksi Kementerian Pendidikan dan Kebudayaan pada tahun 1948, kini menjadi koleksi Galeri Nasional Indonesia.
Prior to pursuing impressionism and expressionism, Affandi had displayed his skill in painting realistic-naturalist portraits since the beginning of his career. As in this painting, there are brush strokes and small details that have succeeded in forming the figure of an elderly mother.
The mother figure crosses her arms over her shoulders, her hair dangles a little, her lips don't show a smile, her cold gaze and sad face. Overall, this figure seems to show a gesture of deep sadness. On the upper right of the painting, there is an inscription in Sundanese script "Pileuleuyan Ibu", which means "Goodbye, Mother". This expressed the sadness and longing for Affandi who was forced to leave his mother to migrate to Bali.
This painting is one of the earliest works that was acquired into the collection of the Ministry of Education and Culture of the Republic of Indonesia in 1948, now a collection of the National Gallery of Indonesia.
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Pengemis / Beggar
1974
99 x 129 cm
Cat minyak pada kanvas / Oil on canvas
Dalam lukisan ini terlihat sesosok tubuh renta pengemis yang duduk menunggu pemberian santunan dari orang yang lewat. Penggambaran tubuh renta lewat sulur-sulur garis yang mengalir menekankan ekspresi penderitaan si pengemis. Warna cokelat hitam yang membangun sosok tubuh, serta aksentuasi warna kuning kehijauan sebagai latar belakang semakin mempertajam suasana muram yang terbangun dalam ekspresi keseluruhan. Pilihan sosok pengemis sebagai objek dalam lukisan tidak lepas dari empati Affandi terhadap kehidupan masyarakat bawah. Affandi adalah penghayat yang mudah terharu, sekaligus petualang hidup yang penuh vitalitas. Objek-objek rongsok dan jelata selalu menggugah empati Affandi. Ia merasa mampu lebih baik menggambarkan kesengsaraan daripada mempertontonkan keindahan.
This painting shows an old beggar sitting and waiting for donations from people passing by. The aged body is painted with spindly streaming lines emphasizing the beggar’s misery. The black and brown colors of the body, with the green and yellow background, adds to the gloominess of the whole expression. A beggar as the object shows Affandi’s empathy towards the life of the poor. Affandi is a sympathetic person as well as a life explorer full of vitality. He is always compassionate towards those in inferior positions and commoners. He felt that he could paint suffering better than beauty.
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Pemandangan di Pegunungan / Mountain View
1969
98 x 130 cm
Cat minyak pada kanvas / Oil on canvas
Kawah / The Crater
1974
99 x 129 cm
Cat minyak pada kanvas / Oil on canvas
Layaknya melukis figur langsung di hadapan model, dalam mengerjakan lukisan lanskap Affandi menggunakan metoda plein-air-painting atau melukis di alam terbuka dan berhadapan langsung dengan objeknya. Dengan begitu ia dapat mencerap garis, bentuk, serta warna langsung dari alam dan tergerak untuk mengolah emosinya. Pada sebuah wawancara dengan Jim Supangkat, Affandi mengaku dirinya adalah seorang “naturalis yang semurni-murninya”. Bukan dalam artian naturalis yang melakukan penyelidikan khusus terhadap tumbuhan dan binatang, namun ia meyakini satu prinsip mendasar dalam melukis, yaitu mencintai pada “yang alami”. Pada lukisan-lukisan lanskap pegunungan, Affandi berupaya kuat untuk menampakkan garis-garis kontur tanah serta kepulan asap dan kabut yang membaur dengan awan di langit. Di antara sapuan dan plototan warna-warna alam, Affandi kerap menyisipkan aksentuasi warna-warna yang janggal seperti kuning, oranye, dan merah, sebagai representasi dari emosinya yang meluap-luap.
Just like painting a figure directly in front of a model, in landscape painting, Affandi used the plein-air-painting method or open-air painting, facing his object directly. He wanted to perceive the lines, shapes and colors directly from nature and explore the emotion. In an interview with Jim Supangkat, Affandi confessed that he was a “pure naturalist”. Not in the sense of a naturalist who investigates plants and animals, but he believed a basic principle in painting was to love “the natural''. In his landscape paintings of mountains, Affandi strove to show the contours of the land, as well as the smoke and fog blended with the clouds in the sky. Between the brush strokes and the globs of paint in natural colors, Affandi often inserted odd accentuation of colors like yellow, orange, and red as a representation of his overwhelming emotion.
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Potret Diri dan Pipanya / Self-Portrait with Pipe
1971
100 x 130 cm
Cat minyak pada kanvas / Oil on canvas
Potret Diri / Self-Portrait
1974
100 x 130 cm
Cat minyak pada kanvas / Oil on canvas
Sepanjang karier kesenimanannya sejak 1930-an, Affandi sangat produktif mengerjakan lukisan potret diri. Baginya, potret diri merupakan ajang studi yang efisien karena ia dapat berlatih melukis hanya dengan melihat cermin, tanpa memerlukan bantuan model. Potret diri juga biasanya dipilih Affandi ketika gelora melukisnya memuncak. Meski demikian, ia kebingungan untuk menentukan motif atau lantaran tidak mendapatkan rangsangan untuk melukis. Dalam sebuah wawancara, Affandi mengaku dirinya hanya butuh waktu singkat untuk mengerjakan potret diri. Sebab semakin sering ia mengerjakan lukisan potret diri, maka semakin Affandi mengenal dirinya sendiri.
Kedua lukisan ini menampilkan wajah Affandi di usia 60-an dalam pose serta nuansa warna yang berbeda. Selain gambaran wajah utuh, Affandi juga kerap melukis potret dirinya dalam berbagai adegan seperti memegang pipa cangklong, berada di antara topeng, atau berpose bersama figur-figur lainnya seperti kawan atau kolektornya.
Throughout his career, starting in the 1930s, Affandi painted many self-portraits. To him, self-portraiture was very efficient because he could practice painting with only a mirror, without having to use a model. He painted self-portraits whenever his passion for painting soared, but he was unable to find a suitable object that inspired him. In an interview, Affandi said that for him it only took seconds to paint a self-portrait. The more he worked on self-portraits, the more Affandi felt he knew himself. Both paintings show Affandi's face in his 60s in different poses and color nuances. Besides his full-face paintings, Affandi often painted himself in various scenes such as while holding his pipe, being surrounded by some masks, or posing with other figures like his friends or collectors.
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Pemakaman Raja Inggris / The Funeral of the King of England
1952
66 x 107 cm
Cat minyak pada kanvas / Oil on canvas
Selepas perjalanan berkeliling India bersama istri dan putrinya dalam kurun 1949⎯1951, keluarga Affandi melanjutkan petualangannya di Inggris. Di negara itu, putri Affandi, Kartika dinikahi oleh Sapto Hoedojo yang sedang belajar melukis di sana. Affandi kerap melukis langsung di ruang publik di London, terutama di taman kota, sehingga sering kali menarik perhatian warga yang menonton aksi live painting tersebut. Terkadang polisi mendatangi Affandi dan memintanya untuk berhenti melukis. Namun di lain kesempatan, Affandi akhirnya dapat juga menyelesaikan lukisannya.
Lukisan ini menampilkan adegan upacara pemakaman Raja George VI yang dipadati oleh warga yang ingin memberikan penghormatan terakhirnya. Affandi melukiskan adegan ini dari sudut pandang warga yang berupaya melihat iring-iringan kereta kuda kerajaan di antara padatnya kerumunan pelayat. Perspektif lukisan tampak terbatas akibat terhalang oleh pelayat yang seolah berdiri di depan pelukis. Suasana lukisan didominasi oleh nuansa hitam, menyimbolkan kesedihan yang amat mendalam.
After traveling in India with his wife and daughter in 1949 – 1951, Affandi’s family continued their adventure to England. In England, Affandi’s daughter, Kartika, got married to Sapto Hoedojo who was studying painting there. Affandi often painted in public places in London, especially in the parks of the city which attracted people’s attention to watch the live painting. Sometimes police officers asked him to stop, but usually he managed to finish his paintings.
This painting shows the funeral ceremony of King George VI crowded with the citizens wanting to pay their last respects. Affandi painted this scene from the point of view of the citizens attempting to see the royal horse carriages from the crowd.
The painting’s perspective is hindered by the mourners standing in front of the painter. The painting is dominated by shades of black to symbolize deep grief.
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Barong Melis
1975
100 x 150 cm
Cat minyak pada kanvas / Oil on canvas
Barong Melis merupakan salah satu elemen ritual pada upacara Melasti/Melis yang dilakukan tiga hari sebelum Hari Raya Nyepi. Upacara Melasti merupakan bentuk penyucian diri, melebur segala macam kekotoran pikiran, perkataan, dan perbuatan, serta memperoleh air suci yang pelaksanaannya dapat dilakukan di laut, danau, atau pada sumber mata air yang disucikan. Prosesi Melasti dimulai dengan persiapan iring-iringan umat disertai jempana, rangda, dan barong yang diarak menuju tempat sumber air. Lukisan ini merekam prosesi Melasti yang berfokus pada iring-iringan barong dengan dominasi nuansa warna hitam dan warna tanah. Affandi menyisipkan aksentuasi warna merah pada detail-detail penting seperti kepala, badan, dan ekor barong. Nilai-nilai luhur dalam tradisi ritual Hindu serta kecintaan masyarakat Bali pada alam menginspirasi Affandi untuk kerap kembali ke pulau ini untuk melukis.
Barong Melis is a ritual element in the Hindu Melasti/Melis Ceremony held three days before Nyepi (Day of Silence) on the island of Bali. The Melasti Ceremony is a form of self-purification, where all impure thoughts, words, and deeds are ritually burned, which is followed by a blessing with holy water from the sea, a lake, or on a purified spring. The Melasti procession begins with a parade by Hindu people bringing effigies of jempana, rangda, and barong walking towards the water source. This painting, dominated by shades of black and earthy colors, depicts the Melasti procession focusing on the barong. Affandi uses the color red to accentuate important details such as the head, body, and tail of the barong. The values and the
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