Art and Society: Hendra Gunawan

1. Art and Society:Hendra Gunawan

2. 5W1H

3. Key Dates 1918: He was born in Bandung Indonesia. 1939: Met Affandi who was an inspiration to him. 1942-44: Active exhibition in POETERA and the Keimin Bungka Shidoso in Jakarta. 1945-49: Joined the Indonesian army during the anti-colonial revolution. 1946-: Settled in Yogyakarta. Hornsey College of Art, London. 1950-57: Taught at ASRI. 1955: Nominated into the Communist Party. 1968: He married his student Nurhaeni who was much younger than he was. 1983: He died at the age of 65.

4. When (1918 – 1983) 1937: Sino-Japanese War. 1939: World War II. 1940: German Occupation of Netherlands. 1942-45: Japanese Invasion in Southeast Asia. 1945: Dutch returned to claim Indonesia once more. 1949: Indonesia gained independence.

5. Where (Indonesia) • Indonesia was ruled by the Dutch East India company since the 1602 to 1799. • The Dutch government wound up the company when it was not doing well. However, the Dutch continued to rule. • Since then, there had been many rebellions as Indonesia became more independent. • Nevertheless, Indonesia still remained as a Dutch colony until1942 due to the Japanese invasion. • When the Dutch returned after 1945, the Indonesians put up a fierce battle

6. Theme - Family Q1) Describe and analyse this painting Family Portrait, 1968. Oil on canvas, 200 x 147 cm.

7. Theme – Self Portrait Horse head. Gunawan’s Chinese horoscope is the horse. Me, Dasamuka / Ten-Headed, c.1968

8. Theme - Family Pengorbanan Ibu, (A mother’s sacrifice), 1973

9. Theme - Loneliness Longing for the family to be united. Dry Lizard, 1977 Oil on canvas The Haji’s Family, 1990 Acrylic on board, 51 x 80 cm

10. What • Shows himself as an old man with long hair and beard. • He is in the prison cell feeding a small lizard to a cat. • He is wearing a sweater and a jacket over his batik shorts- cold. • The cell has very little light and no view of the outside environment. • His face is softened with a slight smile. • The work emphasizes companionship- between him and the cat- a sign of loneliness.

11. Theme- Life of Indonesians Revolutionary Bride/ The War Wedding, 1955 Oil on canvas, 114 x 91 cm

12. Theme - Life of Indonesians Q2) What do you notice about the colour, brushwork and composition? Keramas, 1975

13. Theme - Life of Indonesians Fish market by the beach Batik Sellers, 1954

14. Theme - Life of Indonesians a woman selling chicken on the way to or from the market

15. Theme: Life of Indonesians Menynsui Anak- Tetangga, (Nursing the neighbour’s baby) , 1975

16. Theme- Life of Indonesians Selling Vegetable on the Beach, Oil on canvas,

17. Theme- Life of Indonesians Papaya Seller, Oil on canvas, 96 x 114 cm

18. Theme- Life of Indonesians Kris Dance Ubud Bali, 1982 Oil on canvas,

19. Theme- Women Woman was a reflection of Hendra’s universe. His obsession with all things Indonesian finds perfect expression with this subject. If she was breast-feeding her baby, she was a symbol of the artist's beloved country, the young republic of Indonesia. If she was depicted in glorious colours, dressed in traditional batik, she was the symbol of the great Javanese culture that was close to the artist's heart. With her large feet planted firmly on the ground, she symbolises strength, endurance and willingness to work. Placed in a grandiose landscape, the lines and curves of her body mirror the lines and curves of the dramatic landscape and thus embody all that is beautiful and Indonesian.

20. Theme- Women The artist's muse is not a specific person - he drew inspiration from the many women he knew. She could be a street vendor, a neighbour, a family member, or someone he saw passing by. He was able to transform brief glimpses of women into eternal icons on his canvasses.

21. Theme- Women Seated Woman, 1975

22. Theme- Women Wanita, c 1970

23. Theme- Women

24. Revolutionary Theme War and Peace, c. late 1950s- early 1960s Singapore Art Museum

25. Revolutionary Theme War and Peace was painted between 1950s and 60s. It was based on a revolutionary struggle of the Indonesians against the Dutch in the early 20th century. The subject matter is patriotic, though not idealised, and he shows the commoner as the hero in this revolution. His style here shows a loose treatment of simplified forms. ‘Messy’ brushstrokes add a whimsical and free feel to the composition. An exotic and dream-like quality in the painting is suggested by a sweet, vibrant and dream-like colour co-ordination, together with the snaky lines and curves which recall influence from tradition decoration s-shapes and curves, repeating and interlocking. • Who are these people in this painting? What do they look like and what are they doing? Are they meant to be ‘real’ people, or are they meant to be symbols? • If the figures in the painting are symbols, then what do they symbolise and how does this relate to the title? What do you think the man with the gun is ready to fight about? What kind of expression is he wearing? How can you tell he is a common Indonesian man? • Explain what you think is the meaning of this picture? Do you think there is a specific message that it wants to impart to the viewer? • The artist himself involved in a war for independence in Indonesia - do you think that experience makes his painting more truthful or important? How does the style of the painting, and in particular, the background, enhance the message of the work?

26. Revolutionary Theme Q3) Compare this painting with an artwork by Goya.

27. RevolutionaryTheme Perang Buleleng di Bali Model,1982

28. Which • Theatrical Realism • Painting in a naturalistic manner. • Elements of theatrics- dramatized. • Visible in the poses of the figures and their expressions. • Uses exaggeration to a point of caricature.

29. What • Subject Matter • Natives engaged in everyday lives- work, play or relaxation. • Women. • Figures in revolutionary scenes. • Revolutionary Themes • Anti-colonial Indonesia. • Nationalism. • Indonesian Culture and Family • Celebrations. • Families portraits.

30. Why His Background- • He was thrown out of the house by his gambler father when he wanted to paint. • He joined a theatrical troupe at 19 and apart from performing, he painted the sceneries. • He studied landscape painting with Wahdi and Giorgi Giseken (a porcelain industralist). • Met Affandi and was greatly encouraged by him to take up painting as a career. • He was imprisoned and upon his release, he set up a studio at Batuan village at Bali- the rich visuals, colours and rituals inspired him

31. Why His Background- Political Activist • He was part of the Student Troops and an active member of POETRA (Center of Popular Power). It was a nationalist group led by Indonesia’s famous Sukarno, Hatta, Ki Hadjar Dewantara and KH Mansur. • He was also active with Persagi (The Association of Indonesian Painters) set up by S. Soedjojono and Agus Djaya in 1938. • Joined the Indonesian army during the anti-colonial revolution from 1945-49- he painted anti-Dutch posters during this time. • Nominated into the Communist Party in 1955. • He was incarcerated for being involved in LEKRA (Institute of Popular Culture). It is an cultural organization that was tied to Indonesian Communist Party (now defunct). • He was set free in 1978.

32. How Use multiple layers of contrast:- • Near and distant views. • Large and small figures. • Some areas are thick and dense with paint. • Others are airy and open or sketchily done. • Forms are flat but round and modulated. • Textural and coarse areas with more refined areas. • Areas that appear unfinished and outlined by a single brushstroke. • And areas that appear realistic.

33. Artistic influences Kwan Kong, the Legendary General, 1965 By Affandi Me, Dasamuka / Ten-Headed, c.1968

34. References • http://www.hendragunawanbook.com/profil.htm