Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Affandi (1907–1990)

View through CrossRef
Affandi was an Indonesian modernist artist best known for his expressive paintings depicting scenes of everyday life and his own emotional states, as well as for his portraits of family members. He is known as the first Indonesian modernist to gain international recognition. Affandi was largely self-taught, and while his work reflects strong affiliations with post-impressionist and expressionist tendencies in European art, there is no evidence to show that he studied these systematically. Affandi is best known for his technique of applying paint on to canvas directly from the tube and for working with his fingers instead of brushes, resulting in thick impasto and energetic gestural work that was well-suited to realising his goals of conveying emotionally charged images. During the period of revolutionary resistance against the Dutch (1945–9) Affandi was active in painting posters encouraging armed rebellion. He was a founding member of several Indonesian artists’ organisations including Gabungan Pelukis Indonesia [Union of Indonesian Painters], Jakarta, 1948. Throughout a career that spanned the late Colonial and Postcolonial periods in Indonesian history, Affandi was officially recognised and celebrated on several occasions by state and academic agencies in Indonesia, India, the USA, Singapore and Japan. His final home and studio in Yogyakarta, Indonesia, is now the Museum Affandi, and features a display of his works as well as several eccentric architectural, design and landscape aspects.
Title: Affandi (1907–1990)
Description:
Affandi was an Indonesian modernist artist best known for his expressive paintings depicting scenes of everyday life and his own emotional states, as well as for his portraits of family members.
He is known as the first Indonesian modernist to gain international recognition.
Affandi was largely self-taught, and while his work reflects strong affiliations with post-impressionist and expressionist tendencies in European art, there is no evidence to show that he studied these systematically.
Affandi is best known for his technique of applying paint on to canvas directly from the tube and for working with his fingers instead of brushes, resulting in thick impasto and energetic gestural work that was well-suited to realising his goals of conveying emotionally charged images.
During the period of revolutionary resistance against the Dutch (1945–9) Affandi was active in painting posters encouraging armed rebellion.
He was a founding member of several Indonesian artists’ organisations including Gabungan Pelukis Indonesia [Union of Indonesian Painters], Jakarta, 1948.
Throughout a career that spanned the late Colonial and Postcolonial periods in Indonesian history, Affandi was officially recognised and celebrated on several occasions by state and academic agencies in Indonesia, India, the USA, Singapore and Japan.
His final home and studio in Yogyakarta, Indonesia, is now the Museum Affandi, and features a display of his works as well as several eccentric architectural, design and landscape aspects.

Related Results

Interpretasi Ikonologis Matahari Affandi dalam "Affandi dan Tujuh Matahari" dan "Hampir Terbenam"
Interpretasi Ikonologis Matahari Affandi dalam "Affandi dan Tujuh Matahari" dan "Hampir Terbenam"
Tulisan ini merupakan hasil penelitian atas dua lukisan Affandi, yaitu Affandi dan Tujuh Matahari (1950), dan Hampir Terbenam (1983). Hal yang menarik adalah kedudukan matahari dal...
„Heute keine Sitzung wegen zu teuren Bieres!“: Die Analyse des Bamberger Bierkriegs von 1907 als Thema der Öffentlichkeit
„Heute keine Sitzung wegen zu teuren Bieres!“: Die Analyse des Bamberger Bierkriegs von 1907 als Thema der Öffentlichkeit
Oktober 1907: In Bamberg herrscht ein unerbittliches Ringen um die Vorherrschaft über den Preis für das populäre Gesellschaftsgetränk Bier. Die Hersteller wollen den Gerstensaft st...
Analisis Perbandingan Unsur Intrinsik Novel Dilan 1990 dan Film "Dilan 1990"
Analisis Perbandingan Unsur Intrinsik Novel Dilan 1990 dan Film "Dilan 1990"
<div class="WordSection1"><p>Penelitian ini bertujuan <strong> </strong>untuk  mengetahui dan mendeskripsikan unsur intrinsik dari novel Dilan 1990 karya Pi...
The criminogenic situation in Tsarskoye Selo in 1906-1907 in the materials of the periodical press
The criminogenic situation in Tsarskoye Selo in 1906-1907 in the materials of the periodical press
цель: анализ криминогенных ситуаций в Царском Селе за 1906-1907 гг. по материалам периодической печати. Методы: применена группа методов, важнейшими выступили сравнительно-историче...
La crise d'une économie régionale : la monoculture viticole et la révolte du Midi (1907)
La crise d'une économie régionale : la monoculture viticole et la révolte du Midi (1907)
Областной экономический кризис: монокультура винограда и восстание юга Франции (1907 г.) Восстание виноградарей на юге страны в 1907 г. не должно рассматриваться исключительно...
KALIMAT DEKLARATIF DALAM FILM “DILAN 1990”
KALIMAT DEKLARATIF DALAM FILM “DILAN 1990”
Tujuan penelitian ini ialah mendeskripsikan bentuk dan makna kalimat deklaratif dalam film Dilan 1990. Pendekatan dalam penelitian ini adalah kualitatif-deskriptif. Teknik pengumpu...

Back to Top