Affandi

Acquired directly from the artist
Private Collection, Indonesia
Private Collection, Indonesia (acquired directly from the above)

This work is in good condition overall and the canvas is clear and taut. Upon close observation, there are scattered faint craquelures on the impasto areas throughout, but the paint is in stable condition. Examination under ultraviolet light reveals no evidence of restoration. Framed.
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"I do the art, not because I like to be rich, not because I like to be famous, but because I have to. It is, I don't know how you call it in English, but we call it "Panggilan Jiwa - the calling of the soul. Whether I get a name or not, whether my painting is sold or not, really does not matter. To do the painting is the thing. I have to do it."

AFFANDI

The dramatic panoramic sweep of Affandi’s luminous Ginza exhibits a truly magnificent and dynamic symphony of painterly expression. It comprises a powerful juxtaposition between the tactile and unruly impasto that masterfully conveys movement and provides a sense of abstraction, and the grid-like, geometric structures that gives a sense of orderliness and permanence. The soul of Ginza in Tokyo, one the most iconic places that embodies the constancy of human movement, is expressed through the blinking lights. Against the velvety night sky, bright neon signs sparkle like rubies and emeralds. The famous Mitsubishi Dream Center, also known as San’ai Building, designed by Nikken Sekkei and completed in 1962, holds the fort of Ginza’s famous crossroad. It is interesting to note that while the building is still very much part of present day Ginza, the brand advertised on the tower relentlessly changes. 

Affandi’s traveling series is one of the most important one in the artist’s body of work. Apart from his predecessor Raden Saleh, Affandi was the only Indonesian artist up to the mid 20th century to travel so extensively around the world and to paint so incessantly what he experienced and observed during these trips. By the time Affandi reached Japan, he had already exhibited at the Sao Paolo Biennale, won an award at the Venice Biennale (1964), and traveled to India, Brazil, United States, England, Belgium, France, Italy and Sweden.

With throngs of people and cars swarming the streets, blazing neon lights and vibrant advertising signboards that almost obscure the night sky Affandi reveals his fascination with the 'modernity' and glamour of cosmopolitan cities and luminous skyscrapers. At a glance, this could not be more different from scenes of Indonesian life with its cockfights, village scenes and people. Yet Affandi approached each painting with the same vigour and spirit, the same sensitivity for human condition and the same eye for observation. Beyond the inexorable wave of change and the dilemma to be either a part of it or to grasp at every fragment of familiarity, it is the sense of awe at human achievement and the sincere hope for a bright future that remains constant.