ABOUT AFFANDI
Affandi himself was born in Cirebon in 1907. He was the son of R. Koesoema, an orderly measuring the sugar factory in Tangerang, Cirebon. Formal education is quite high, ranging from HIS, MULO to AMS in the Dutch era. However, his art talent is very strong beat other disciplines in life, and indeed made his name famous the same as any other field leaders.
At the age of 26 years, in 1933, Affandi was married to Maryati, a girl born in Bogor. Affandi and Maryati blessed with a daughter who will inherit his father's talent as a painter, the Kartika Affandi.
Before starting to paint, Affandi had been a teacher and had also worked as a torn ticket and cinema billboard image maker in one of cinema in Bandung. This work is no longer cultivated because Affandi more interested in the field of painting. Around the year 30's, joined the group Five Affandi Bandung, Bandung with a group of five painters Hendra Gunawan, Barli, Sudarso and Wahdi.
Wahdi is one of the painters who learned directly from Suriosubroto Abdullah, father of Abdullah Basoeki. Group Five leaders Affandi Bandung has a sizable stake in the development of art in Indonesia. This group became a study of a group working together and helping each other painters in Bandung, including a number of junior artists.
In step with Affandi painted prefer the freedom of expression. Based on the popular soul, Affandi interested in the theme of small community life. Painting techniques that tend to form even beautify the object as did Moi India or Indian forces Jelita, Affandi felt did not represent the condition of society by poverty due to colonization.
With the experience and see the condition of the people who suffer, Affandi more intrigued by spills and scratches reveal dull colors and themes squalor. Observation of the environmental sensitivity plainly disclosed, so that his work entitled "Fighting romusha" (1943) which shows people in poverty do not like the ruler of Japan.
Humanism Affandi seen also in his work "He's Coming, Waiting, and Go" (1944). In this work displayed a beggar who had just arrived, and then ask, then left. His face is lean beggar with shabby clothes, but from the rest of her strength is still vibrant despite live by begging. Affandi Observations like these show concern for the suffering of his soul among the children of the nation. Populist themes into dominance in the works of Affandi.
Indeed, during the Japanese colonial era (1942-1945), the painter lived difficult as most people in general. Although Persagi disbanded, their aspirations remain alive because the prestige of Pak Agus Djaja Djon and that gives the demands of painting in colonial times was a brief but violent. The principle of the school of Persagi stay alive is to not really bother painting technique, in addition to dare to paint first.
Some young leaders emerging in the era of Japanese painter Otto Djaja ie, Kusnadi, Kartono Yudokusumo, Baharuddin, Harjadi S, Njoman ngendon. They were what later turned studios painting that flourished in the early days of independence (1945-1950's) and became a place of living painters.
Mr. Djon during the Japanese era entrusted with leading the Cultural Section of Poetera, stands for People's Power Poesat led four series: Soekarno, Hatta, Ki Hajar Dewantara and KH Mansyur. Affandi had solo exhibition in this era, with the permission and protection of Pak Djon in 1943. After that the exhibition of single works Kartono Yudhokusumo, and Njoman ngendon Basoeki Abdullah also held consecutively.
Affandi himself was born in Cirebon in 1907. He was the son of R. Koesoema, an orderly measuring the sugar factory in Tangerang, Cirebon. Formal education is quite high, ranging from HIS, MULO to AMS in the Dutch era. However, his art talent is very strong beat other disciplines in life, and indeed made his name famous the same as any other field leaders.
At the age of 26 years, in 1933, Affandi was married to Maryati, a girl born in Bogor. Affandi and Maryati blessed with a daughter who will inherit his father's talent as a painter, the Kartika Affandi.
Before starting to paint, Affandi had been a teacher and had also worked as a torn ticket and cinema billboard image maker in one of cinema in Bandung. This work is no longer cultivated because Affandi more interested in the field of painting. Around the year 30's, joined the group Five Affandi Bandung, Bandung with a group of five painters Hendra Gunawan, Barli, Sudarso and Wahdi.
Wahdi is one of the painters who learned directly from Suriosubroto Abdullah, father of Abdullah Basoeki. Group Five leaders Affandi Bandung has a sizable stake in the development of art in Indonesia. This group became a study of a group working together and helping each other painters in Bandung, including a number of junior artists.
In step with Affandi painted prefer the freedom of expression. Based on the popular soul, Affandi interested in the theme of small community life. Painting techniques that tend to form even beautify the object as did Moi India or Indian forces Jelita, Affandi felt did not represent the condition of society by poverty due to colonization.
With the experience and see the condition of the people who suffer, Affandi more intrigued by spills and scratches reveal dull colors and themes squalor. Observation of the environmental sensitivity plainly disclosed, so that his work entitled "Fighting romusha" (1943) which shows people in poverty do not like the ruler of Japan.
Humanism Affandi seen also in his work "He's Coming, Waiting, and Go" (1944). In this work displayed a beggar who had just arrived, and then ask, then left. His face is lean beggar with shabby clothes, but from the rest of her strength is still vibrant despite live by begging. Affandi Observations like these show concern for the suffering of his soul among the children of the nation. Populist themes into dominance in the works of Affandi.
Indeed, during the Japanese colonial era (1942-1945), the painter lived difficult as most people in general. Although Persagi disbanded, their aspirations remain alive because the prestige of Pak Agus Djaja Djon and that gives the demands of painting in colonial times was a brief but violent. The principle of the school of Persagi stay alive is to not really bother painting technique, in addition to dare to paint first.
Some young leaders emerging in the era of Japanese painter Otto Djaja ie, Kusnadi, Kartono Yudokusumo, Baharuddin, Harjadi S, Njoman ngendon. They were what later turned studios painting that flourished in the early days of independence (1945-1950's) and became a place of living painters.
Mr. Djon during the Japanese era entrusted with leading the Cultural Section of Poetera, stands for People's Power Poesat led four series: Soekarno, Hatta, Ki Hajar Dewantara and KH Mansyur. Affandi had solo exhibition in this era, with the permission and protection of Pak Djon in 1943. After that the exhibition of single works Kartono Yudhokusumo, and Njoman ngendon Basoeki Abdullah also held consecutively.
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