阿瑞·史密特

內卡博物館十週年之際直接購自藝術家

阿古斯‧德馬華‧T，《Puisi Warna：阿瑞·史密特》，Penerbit Yayasan Seni Rupa AIA，雅加達，1993年，第97頁，彩色圖版
Suteja Neka 與 Drs. Sudaramji，《阿瑞·史密特》，Koes Artbooks，峇里，1995年，第171頁，彩色圖版

This work is in very good overall condition as viewed. There is very light wear and associated losses to the paint along the edges of the work due to abrasions with the frame, but this does not affect the overall image. The paint layers are healthy overall. Examination under ultraviolet light reveals no sign of restoration.
"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."

Arie Smit gives a romanticized European account towards his experiences at the tropical island of Bali, and provided for his viewers an almost exaggerated perception of the Balinese landscape and culture. There is a thread of optimism running through his pieces which all seem to have an underlying feeling of wonder and freedom. Bearing a poetic realism, Arie Smit’s oeuvre is a dreamy confrontation of his Southeast Asian adventures.

Slope on the Mountain depicts an animated and playful scene of Bali’s mountains, featuring the abundance of flora and fauna on this sun-kissed island. The yellow rice fields are complemented by the cool blue hues and altogether, have evoked a sense of comfort. Throughout the course of Indonesian art history, the mountain has long been a symbol of the gunungan, a literal and symbolic entrance to the cosmos. As an embodiment of all elements of the earth, the mountains were filled with the oppositions of life, decay, and rebirth, violence and serenity. Previously being held as a war prisoner, Smit was locked behind bars for years before he regained his freedom. His paintings allowed him to portray his liberation, and expressed his happiness through the experiences and portrayals of the Balinese culture.