Lot 418
  • 418

Sudjana Kerton

Estimate
50,000 - 80,000 HKD
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Description

  • Sudjana Kerton
  • Roses
  • Signed and dated 1960; signed, inscribed and dated June 28 1960 on the reverse
  • Oil on canvas fixed on board
  • 40.5 by 30.5 cm.; 16 by 12 in.

Provenance

A Gift from the Artist to the Present Owner
Private Collection, USA

Condition

The work is in good condition overall, as is the canvas, which is clear and sound. There is minor wear and handling around the edges of the painting, otherwise the paint layers are healthy and intact. Examination under ultraviolet light shows scattered specks of retouching predominantly on the top two corners (near the leaves) and above the rose located in the center of the work. 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Sudjana Kerton, developed an interest in art during a time of cultural and political revolution in Indonesia. Spurred by the belief in “Tjorak Persatuan Indonesia Baru” (The characteristic of new Indonesia), Sudjojono had launched an artistic campaign to demonstrate the innovation and capabilities of the arts in Indonesia. It advocated a form of representation that was in direct opposition to the Indonesia depicted by their Netherlandish colonizers, which has come to be the seen as the beginning of Indonesian modern art. Members of this movement, known as the PERSAGI (Indonesian Painters Association), sought to establish an artistic programme based on the notion that art was a reflection of the creator’s individual views, together with the expression of nationalistic sentiments.

Like many other Indonesian artists at the time, Kerton began studying art as an apprentice, due to the lack of formal training available. However, he was eventually provided the opportunity to study art in Holland, as part of an initiative by STICUSA (Foundation for Cultural Co-operation between Indonesia and Holland). His works during this period were no longer about the political unrest of Indonesia, but rather an eagerness to understand the artistic conventions in Western art. Painted during this period, Roses is the record of Kerton’s development of what will later be his personal artistic style. Although the still-life genre has often been seen to demand less creativity and intellect, Kerton understood the importance of studying objects in his artistic practice. Balance and composition are essential in such representations, as the slightest disproportion would be immediately visible to the viewer. The relationship of one object to another, in order to achieve a cohesive whole requires the acute observation and focus of the artist in order to achieve a harmonious image.

It is precisely this attention to detail and understanding of visual coherence that came to inform his later style, which he developed upon returning to Indonesia. His new inspiration, as well as his newly-acquired technical ability propelled his artistic career to new heights. Roses is significant to Kerton’s oeuvre as it marks his rise to artistic maturity.