阿凡迪

私人收藏，新加坡

The work is in good condition overall, as is the board, free from warping. There is light wear and handling around the edges of the painting inherent to the framing process, but paint layers and impastos are healthy and intact. A gentle network of craquelure is located on the space between the animals on the left and the largest tree trunk (yellow and white paint), along with evidence of a faint stain located on the road (dark brown paint beneath the largest tree trunk), but only visible upon close observation. Under ultraviolet light inspection reveals scattered pin-sized spots of restoration on the top half of the painting (dark green and yellow impastos in the background), on the branches and the bottom trunk of the largest tree, the body of the middle tree, the area surrounding the white horse, on the horse carriage (orange paint and wheels) and sprinkled along the middle section of the right border. 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."

Affandi is highly regarded for bringing international awareness to the emergence of Indonesia’s modernist art movement, and celebrated for his transformative influence upon the country’s artistic legacy. A self-taught artist, Affandi’s oeuvre is representative of an individual who deviated from creative norms, and sought to establish his own mode of creative expression in the paintings.

He is well known for dispelling with traditional tools such as brushes, and instead painted with his hands, squeezing the paint out of the tube and applying it directly onto the canvas. This technique enabled him to establish a visceral connection between himself and his chosen subjects. Restoran Koeda Andong, Djogja (Horse Carriage Restaurant, Djogja) perfectly demonstrates the passionate relationship he had to his subjects, and desired motifs.

An active participant in the country’s art community, Affandi joined the “Lima Bandung” group in the 1930’s, befriending other local painters such as Hendra Gunawan and Sudarso. In later years the artist also became familiar with S. Sudjojono and Dullah, painters who sought to use their artworks to redefine the national identity of the country. In 1948 Affandi’s political ideals found their voice in the “Indonesia’s Painters Association”, a group associated with the Indonesian Communist Party.  However amidst these friendships and creative projects, it was in the fifties Affandi discovered “squeezing the tube” method that would come to transform his oeuvre, and subsequently cement his creative legacy. 

Restoran Koeda Andong, Djogja (Horse Carriage Restaurant, Djogja) is reflective of this intuitive method of painting that enabled him to capture the energy of the landscapes and human beings he wished to express in the works. Such as the tree that captivates the audience attention, expresses its own living energy amidst the company of the horses and other animals. Therefore the affinity the artist had with his environment, gifted Affandi’s artworks with a unique spirit that transcended the objects within the works from their own physical conventions.