AFFANDI VERSUS ORIENTALISM IN BALI

Jean , Couteau (2008) AFFANDI VERSUS ORIENTALISM IN BALI. Mudra (JURNAL SENI BUDAYA), S.E. p. 1. ISSN 0854-3461

Preview

PDF (AFFANDI VERSUS ORIENTALISM IN BALI) - Published Version Download (210kB) | Preview

Abstract

When thinking about the role played by visitor-artist in the cultural history of Bali, the names that usually come to the mind are those of westerners, be it those who taught techniques to local artist, like Walter spies and Rudolf Bonnet, or those who, just like the aforementioned Spies and Bonnet, created for an expectant foreign public the image of Bali as earthly paradise, like Le Mayeur, Theo Meier, Hofker. Yet , Bali did not remain the preserve of westerners for long. As early as 1939, before World War Two, the painter Affandi, who was to become Indonesian painting’s international star, made a long sojourn in Bali, from 1939 up to the time of the Japanese attack in 1942. Later, between 1957 and his death in 1990, he was to make regular visits to the island, which become his main source of inspiration. Affandi, and he score of Indonesian artists who worked or settled in the island in his wake, were to have a defining influence on Indonesian painting, in particular in the way Indonesian artists constructed, in Bali and through Bali, an image of their national identity

Actions (login required)

View Item