Hendra Gunawan

Sotheby's Singapore, May 16 1998, Lot 201
Acquired by the Present Owner from the Above Sale
Private Collection, Asia

Agus Dermawan T. and Dr. Astri Wright, Hendra Gunawan: A Great Modern Indonesian Painter, Ir Ciputra Foundation, Jakarta, Indonesia, Archipelago Press, Singapore, 2001, p.103, Colorplate 34

The work is in good condition overall, as is the canvas, which is clear and taut. There is light wear and handling around the edges of the painting, along with faint networks of craquelures predominantly on the top margin (blue sky), top portion of the right margin and bottom left quadrant. Upon close observation, there are minute paint losses on the hair and shoulder of the woman, the hair of the boy, on the bottom left corner and bottom margin. Examination under ultraviolet light shows restorations on the bottom margin (feet and knee). However, this is not visible with the naked eyes. 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."

The empowerment of women is a prevalent theme in Hendra’s paintings, for the women portrayed in Hendra Gunawan’s oeuvre have been monumentalized as heroines. Capturing the altruistic qualities of motherhood, courage and kindness, Cooking Snailsis a shining instance of Hendra’s exceptional ability to express this sensibility. The protagonist in the present painting is a feminine figure breast feeding her infant while preparing some snails for a humble dinner. Standing behind the woman is perhaps her son whom is reaching for her support. Her body dominates the pictorial space, while the kaleidoscopic attire celebrates her as a demigoddess.

Moreover, Cooking Snails reveals the socioeconomic situation in Indonesia during the early 1970s, and highlights the hardship that Hendra and his people were experiencing. Far from a decadent meal, hunger is begging for anything to alleviate those pangs and aches. The motherly figure here is perhaps a parallel to Hendra’s wife, Karminin, who was a “strong and courageous women. She tried hard not to lose hope.”¹

The river in distant background symbolizes purity and represents the glimpse of hope despite the harsh reality. All the while, the figures remain respectful towards family and tradition.

¹Agus Dermawan T., Hendra Gunawan: A Great Modern Indonesian Painter. Ir Ciputra Foundation Press, p.31