PAMERAN

© 2017 Istana Kepresidenan Republik

Indonesia Kementerian Sekretariat Negara
Republik Indonesia, Sekretariat Presiden
LUKISAN
Hak cipta dilindungi undang-undang. Dilarang
Koleksi Istana Kepresidenan
memperbanyak, menyebarluaskan, mengutip
sebagian atau seluruh isi buku dalam bentuk
Republik Indonesia
apapun tanpa izin tertulis pemilik hak cipta.

Segala usaha telah dilakukan untuk menjamin ketelitian

Painting Exhibition:
informasi dalam buku ini selama proses pencetakan. Collection of the Presidential Palace
Penerbit tidak bertang­gung jawab atas segala of the Republic of Indonesia
ketidakabsahan dan kesalahan. Pembaca disarankan
untuk meng­hubungi institusi terkait bila diperlukan
untuk mendapatkan penjelasan lebih rinci.
2–30 Agustus 2017 
kurator curator

Asikin Hasan Galeri Nasional Indonesia

Amir Sidharta
Mikke Susanto
Sally Texania

penerjemah translator

Audrey Winkel
Devira Ratman

desain design

Red and White Publishing, Jakarta

 Sambutan Menteri
Sekretaris Negara
Republik Indonesia

Assalamu’alaikum warahmatullahi wabarakatuh,

Salam Sejahtera bagi kita Sekalian,

Dengan ungkapan puji dan syukur kehadirat Tuhan Yang FOREWORD BY MINISTER OF Pada lingkup yang lebih luas, pameran ini juga kita finest of the arts, which carry rich and deep meanings
SENANDUNG IBU PERTIWI

Maha Kuasa, kami bangga dapat menyelenggarakan
pameran lukisan koleksi Istana-Istana Kepresidenan
Republik Indonesia untuk yang kedua kalinya sebagai
bagian dari rangkaian peringatan HUT ke-72 Proklamasi
Kemerdekaan RI Tahun 2017.
Pameran kali ini mengusung tema “Senandung
Ibu Pertiwi”, menampilkan sebanyak 48 (empat
puluh delapan) buah lukisan dengan obyek
berupa pemandangan alam, fenomena kehidupan
sehari-hari serta berbagai kegiatan masyarakat
di segenap kepulauan Nusantara. Lukisan-lukisan
yang dipamerkan itu telah dipilih oleh empat orang
kurator seni terkemuka, setelah melalui seleksi
cermat dan sangat teliti. Diharapkan lukisan-lukisan
itu sanggup menyajikan karya seni terbaik, yang
berpadu dengan kekayaan makna di dalamnya.
Pameran perdana pada tahun 2016 yang lalu bertema
“Goresan Juang Kemerdekaan”, terlaksana dengan baik dan
berhasil meraih sambutan antusias dari berbagai kalangan
2–30 AGUSTUS 2017
THE STATE SECRETARIAT
OF THE REPUBLIC OF INDONESIA
Warmest wishes to all of us,
With words of praise and gratitude to Allah S.W.T., we are
proud to present the Presidential Palace Collection of the
Republic of Indonesia painting exhibition for the second time,
an event made in remembrance of the 72nd anniversary of
Indonesia’s Independence Proclamation, 2017.
This exhibition, entitled “Our Motherland’s Melody”, will exhibit
48 (forty-eight) artworks of various paintings with the themes
of natural landscapes, daily life, and a variety of activities
around the archipelago. These paintings were examined and
carefully selected by our four experienced curators. It is
hoped that these paintings represent the finest of the arts,
which carry rich and deep meanings within them.
This exhibition, entitled “Our Motherland’s Melody”, will
tujukan sebagai bagian dari pembinaan karakter
bangsa serta pengenalan kekayaan budaya negeri kita
kepada komunitas antar-bangsa. Upaya-upaya itu kita
harapkan dapat mendukung pemantapan semangat
kebangsaan, khususnya di kalangan generasi muda,
sekaligus memperkokoh keunggulan budaya kita di
ranah internasional.
Kepada semua pihak yang berpartisipasi dalam pameran
ini, saya sampaikan terima kasih dan penghargaan
yang tinggi. Semoga pameran ini terlaksana dengan
lancar dan lebih meriah dibandingkan tahun 2016 lalu.
Demikian pula nilai-nilai edukatif dan rekreatif yang ada
didalamnya, semoga menjadi inspirasi yang produktif
baik bagi penikmat seni maupun bagi masyarakat luas.
Terima kasih,
Wassalamu’alaikum warahmatullahi wabarakatuh.
Jakarta, Agustus 2017
August 2017
within them.
To all parties who have participated in this exhibition, I would
like to say thank you and give only words of high praise.
Hopefully this exhibition will be carried out more smoothly
and merrier than the one last year, in 2016. Furthermore,
with the educational and recreative values that this exhibition
carries, hopefully it will become an inspiration for productivity
for artists, art enthusiasts and the wider community.
On a wider scope, this exhibition will also hope to evoke
character building and awareness towards our country’s rich
culture on an international pedestal. Our efforts will hopefully
strengthen national spirit, especially amongst the younger
generation, and hope to continue consolidating our cultural
excellence within the global sphere.
Thank you

masyarakat bahkan hingga publik dari mancanegara. exhibit 48 (forty-eight) artworks of various paintings with
Berbekal keberhasilan itu, kegiatan ini diselenggarakan the themes of natural landscapes, daily life, and a variety Menteri Sekretaris Negara
dan dimaksudkan sebagai bagian dari upaya of activities around the archipelago. These paintings were Minister of the State Secretary

kebangsaan dalam menunjukkan Istana Kepresidenan examined and carefully selected by our four experienced
sebagai etalase benda seni dan budaya bermutu tinggi. curators. It is hoped that these paintings represent the
Pratikno
 1

P E N G A N TA R
K U R AT O R
CURATORIAL
NOTES

Ibu Pertiwi...

P E N G A N TA R K U R ATO R
SENANDUNG IBU PERTIWI

gambar bijak bestari bangsa yang dihidupkan sebagai

sosok, sebuah imajinasi dan metafora femininitas penuh
kasih, penjaga, dan pelindung bagi semua. Ia pusaran
kebaikan, tempat di mana pelbagai harapan dan kedamaian
ditambatkan dari dulu hingga sekarang. Sifat-sifat mulianya:
merangkul segala yang jauh, dan mendekatkan yang parak,
upaya tak henti-henti memberi ruang keadilan bagi semua.

Di sini kita berdiri menyingsingkan lengan baju untuk

bekerja bersama-sama, atau dengan kata lain bergotong-
royong, sebagaimana pepatah; berat sama dipikul, ringan
sama dijinjing. Kita menyadari perbedaan dalam pelbagai
hal, dan oleh sebab itu kita mengangkat kesepakatan untuk
saling memahami tanpa harus mengatakan.
2–30 AGUSTUS 2017

Halaman Istana Bogor dengan

patung Ibu dan Anak karya Mikus S.
Bogor Palace Gardens with the
Ibu dan Anak (Mother and Child)
sculpture by Mikus S.
2 3
Kita bisa bicara melalui simbol dan isyarat sebagaimana hal-
SENANDUNG IBU PERTIWI
nya lukisan-lukisan ini, yang tak hanya menggambarkan
tapi juga melampaui sesuatu tak terkatakan dan bahkan tak
terduga oleh pelukisnya. Ibarat sebuah mozaik yang, diam-
diam saling memberi ruang dan jalan bagi warna warni, demi
terwujudnya komposisi dan harmoni, Senandung Ibu Pertiwi,
Tanah Air Indonesia.
Dalam pameran ini, tim kurator tidak hanya menampilkan
sepilihan karya tapi juga para pelukis, baik yang sudah
dikenal maupun belum dikenal atau tidak dikenal sama sekali,
tersebab riuh rendah politik cantrikisme dalam seni rupa di
masa lalu. Pameran ini menyajikan 48 karya dari 41 perupa
dengan pelbagai irisan tematik antara pemandangan alam,
kesehari-harian, tradisi, mitologi dan religi.
2–30 AGUSTUS 2017
Ibu Pertiwi is the quintessential image of
wisdom that is brought to life from a figure
of imagination: a metaphor for femininity
and a tender protector for all. She is the
center of kindness, a place where hope and
peace have attached themselves to from
the past to the present. Her noble qualities
are embracing those who wander afar,
closing that distance bringing them closer
and ceaselessly establishing justice for all.
Here we stand, with our sleeves rolled up
to work together or gotong-royong, as the
saying goes: as the same weight is carried,
the same light is carried. We are aware of
the differences in things; therefore we rise
to the agreement to understand each other
without having to say anything.
We can communicate through symbols
P E N G A N TA R K U R ATO R
and gestures of how these paintings not
only illustrate something, but also surpass
a tangible image towards something
unexpected, even by their painters. Like a
mosaic that, slowly and silently, gives way
for colors in order to form the harmonious
composition of: Senandung Ibu Pertiwi, Tanah
Air Indonesia (or Motherland’s Lullaby)
This exhibition’s curation team will not only
showcase a selection of works but will also
introduce the artists, known or unknown, who
grew and flourished within the past politics of
art patronage. This exhibition will showcase 48
works by 41 artists with a variety of thematic
components such as landscapes, tradition,
mythology and religion.
4 5

Keragaman
Alam
N AT U R E’S D I V E R S I T Y
6 7

K A R YA
ARTWORK

Para pelukis tidak hanya mengambil sudut pandang

K A R YA
SENANDUNG IBU PERTIWI

berbeda, tapi juga merekam obyek dari tempat berbeda-

beda: Sumatra, Jawa, Sulawesi, dan lain sebagainya.
Karya-karya ini sebagai penanda bahwa, pada masa
itu para pelukis sudah menyebar ke pelbagai pelosok
merekam pemandangan alam: Nyiur di pinggir pantai,
ombak yang bergulung-gulung, pepohonan rindang di
antara jalan,  gunung yang tinggi, lembah yang curam,
dan sawah luas dengan padi menguning.  

Not only do these painters have different

perspectives, but they also document objects
from different locations: Sumatra, Java, Sulawesi,
and many others. These works show that by that Wen Peor
time, the painters had already spread to various Terang Bulan (By Moonlight)
ca. 1950
corners of the country to immortalize different cat minyak pada kanvas
2–30 AGUSTUS 2017

(oil on canvas)
natural landscapes: coconut trees by the beach,
76 x 98 cm
rolling waves, leafy trees between roads, high
mountains, steep valleys, and vast fields with
yellowing rice paddies.
8 9

S. Soejono Ds.
Jalan di Tepi Sawah
(On the Edge of a Rice Field)
1958
cat minyak pada kanvas
(oil on canvas)
133 x 200 cm

Dalam percakapan seni rupa modern di Indonesia,

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lukisan dengan ciri seperti itu dikenali sebagai gaya

Mooi Indie. Kecenderungan melukis yang gejalanya
nampak sekitar abad 19, diawali oleh pelukis-pelukis
Eropa yang berkarya dan menetap di Hindia Belanda.
Belakangan dikembangkan oleh pelukis Raden Saleh,
kemudian Abdullah Suriosubroto, Wakidi, Basoeki
Abdullah, dan seterusnya.

Within the discussion of modern art in

Indonesia, paintings with such features are
known as works of the Mooi Indie style. These
stylistic tendencies began in the 19th century,
pioneered by European painters who lived and
worked in the Dutch East Indies. This was then
developed by the painter Raden Saleh, and
2–30 AGUSTUS 2017

continued by Abdullah Suriosubroto, Wakidi,

Basoeki Abdullah, and many others.
10 11

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SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Lukisan Jalan di Tepi Sawah karya

S. Soejono Ds. di Istana Cipanas
Jalan di Tepi Sawah (On the Edge
of a Rice Field) painting by S.
Soejono Ds. at the Cipanas Palace
12 13

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SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Wilhelmus Jean
Frederic Imandt
Gelombang Laut
(The Rolling Sea)
cat minyak pada kanvas
(oil on canvas)
107 x 160 cm
14 15

Salah satu di antaranya—dan ditampilkan dalam pameran

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ini, lukisan Harimau Minum (1863), karya Raden Saleh.

Lukisan ini menampilkan suasana alam mistis, dramatis,
dan warna cenderung redup. Pelukis ini lama menetap
dan berkarya di Eropa. Di Perancis, ia menyaksikan
karya-karya besar pelukis Theodore Gericault, Eugene
Delacroix, dan lain sebagainya yang karya-karyanya selalu
heroik, dramatik, dan dalam ukuran besar.

One of them, featured in this exhibition, is the

painting Harimau Minum (Drinking Tiger, 1863),
by Raden Saleh. This painting portrays a mystical,
dramatic atmosphere with dim colors. This painter
lived and worked in Europe for a long time. In
France, he witnessed the great works of painters
such as Theodore Gericault, Eugene Delacroix, and
2–30 AGUSTUS 2017

others whose works were always heroic, dramatic,

Raden Saleh
and large in size. Harimau Minum
(Drinking Tiger)
1863
cat minyak pada kanvas
(oil on canvas)
160 x 116 cm
16 17

Pelukis Wakidi dengan Senja di Dataran Mahat (1954)

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SENANDUNG IBU PERTIWI

menghadirkan suasana alam berbukit-bukit, salah satu

obyek kegemarannya. Kita bisa mafhum pelukis naturalis
yang berusaha merekam suasana dan pemandangan alam
seperti aslinya, itu enggan beringsut dari tanah kelahirannya
di Sumatra yang menyimpan segala keindahan: gunung
gemunung, pantai, danau, hutan, lereng-lereng, dan bebukitan.
Melalui tangan terampil dan mata setajam kamera, ia merekam
keindahan alam Sumatra Barat nun jauh di sana.

Painter Wakidi with Senja di Dataran Mahat (Twilight

Over Mahat, 1954) presents a natural atmosphere of
hills, one of his favorite subjects. It can be understood
that this naturalist painter tries to record the
atmosphere and natural scenery as it is, reluctant to
stray away from his birthplace of Sumatra that holds
2–30 AGUSTUS 2017

many wonders: mountains, beaches, lakes, forests,

Carel Lodewijk Dake Jr. slopes, and hills. Through skillful hands and eyes as sharp
Pura di Atas Bukit
(The Hill Temple) as a camera, he documents the natural beauty of a
cat minyak pada panel kayu faraway West Sumatra.
(oil on wood panel)
73 x 51 cm
18 19

K A R YA
SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Wakidi
Senja di Daratan Mahat
(Dawn at Mahat)
1954
cat minyak pada kanvas
(oil on canvas)
95 x 144 cm
20 21

Ernest Dezentje, pelukis Indo-Belanda merekam Pemandangan

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SENANDUNG IBU PERTIWI

di Sudut Kota Jakarta, S. Toetoer melukis Di Sungai Ciliwung.

Pelukis Henk Ngantung membentangkan kanvasnya dan
melukis Pemandangan di Sulawesi. Putra Manado itu,
belakangan hijrah ke Ibu Kota RI, dan pernah menjadi
Gubernur DKI di masa Bung Karno, antara 1964 hingga 1965.

Ernest Dezentje, an Indo-Dutch painter captured Sebuah

Pemandangan di Sudut Kota Jakarta (A Corner in Jakarta)
with S. Toetoer painting Di Sungai Ciliwung (At the Ciliwung
River). Painter Henk Ngantung unfurled his canvas and
painted Pemandangan di Sulawesi (Landscape in Sulawesi,
1954). The Manado-born man later migrated to the capital
of Indonesia, and once became the Governor of Jakarta
during the era of Bung Karno, from 1964 to 1965.
2–30 AGUSTUS 2017

Ernest Dezentjé
Sebuah Pemandangan di
Sudut Kota Jakarta
(A Corner in Jakarta)
cat minyak pada panel kayu
(oil on wood panel)
60 x 94,5 cm
22 23

K A R YA
SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Henk Ngantung
Pemandangan di Sulawesi S. Toetoer
(A Landscape in Sulawesi) Di Sungai Ciliwung
1954 (At the Ciliwung River)
cat minyak pada kanvas cat minyak pada kanvas
(oil on canvas) (oil on canvas)
69 x 177 cm 59 x 77cm
24 25

Lukisan Pantai Flores (1942) yang semula cat air di atas

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SENANDUNG IBU PERTIWI

kertas karya Bung Karno, atas permintaannya pada

Basoeki Abdullah disalin kembali dalam lukisan cat
minyak di atas kanvas. Potret pemandangan Flores yang
indah itu direkam Bung Karno semasa menjalani hukuman
pengasingan oleh pemerintah kolonial Hindia Belanda.

The Pantai Flores (On the Shores of Flores Island,

1942) painting that was originally a watercolor on
paper by Bung Karno, was replicated onto an oil
on canvas painting by Basoeki Abdullah at Bung
Karno’s request. The scene of the beautiful Flores
landscape was recorded by Bung Karno while he
was serving his exile, sentenced by the Dutch East
Indies Colonial Government.
2–30 AGUSTUS 2017

Basoeki Abdullah
Pantai Flores
(On the Shores of Flores Island)
1942
cat minyak pada kanvas
(oil on canvas)
120 x 185 cm
26 27

Pemandangan alam di kawasan Jawa Barat,

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Jawa Tengah, Jawa Timur, dan Bali, juga banyak

menginspirasi para pelukis. Abdullah Suriosubroto
melukis Pemandangan Sekitar Merapi (1930).
Mas Pirngadi melukis Pantai Pelabuhan Ratu
(1927). Kartono Yudhokusumo melukis panorama
Dieng di bawah judul Bertamasya ke Dieng (1949).

The landscape of West Java, Central Java, East

Java, and Bali also greatly inspired many paintings.
Abdullah Suriosubroto painted Pemandangan di Sekitar
Gunung Merapi (At the Foot of the Merapi Volcano,
1930). Mas Pirngadi painted Pantai Pelabuhan Ratu
(The Beach of Pelabuhan Ratu, 1927). Kartono
Yudhokusomo painted the panorama of Dieng entitled
Bertamasya ke Dieng (Sightseeing in Dieng, 1949).
2–30 AGUSTUS 2017

Abdullah Suriosubroto
Pemandangan Sekitar Merapi
(At the Foot of the Merapi Volcano)
ca. 1930
cat minyak pada kanvas
(oil on canvas)
58,5 x 95 cm
28 29

K A R YA
SENANDUNG IBU PERTIWI

Mas Pirngadi
Pantai Pelabuhan Ratu
(The Beach of Pelabuhan Ratu)
2–30 AGUSTUS 2017

1927
cat minyak pada kanvas
(oil on canvas)
30 x 75 cm
30 31

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SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Kartono Yudhokusumo
Bertamasya ke Dieng
(Sightseeing in Dieng)
1949
cat minyak pada kanvas
(oil on canvas)
89 x 151 cm
32 33

Dinamika

K A R YA
Keseharian
DYNAMICS OF
THE EVERYDAY
34 35

Kegiatan sehari-hari tak terlepas dari bingkai keindahan

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SENANDUNG IBU PERTIWI

alam yang, obyek-obyeknya dekat dengan pantai, ombak,

gunung, dan sawah. Lukisan Menggaru Sawah di Jawa
karya Romualdo Locatteli, menggambarkan simpatinya
pada para petani dengan teknologi sederhana,
menggunakan tenaga yang sejalan dengan irama alam,
bekerja mulai matahari terbit dan berakhir ketika
matahari tenggelam.

Daily activities are not separated from the bindings of

nature, shown through subject matter that are within
and around the beach, the waves, the mountains and
paddy fields. The painting entitled Menggaru Sawah
di Jawa by Romualdo Locatelli portrays his sympathy
towards farmers with simple technology, working by
the rhythm of Nature, only starting the day when the
2–30 AGUSTUS 2017

sun rises and ending when the sun sets.

Romualdo Locatelli
Menggaru Sawah di Jawa
(Harrowing a Field in Java)
cat minyak pada kanvas
(oil on canvas)
100 x 270 cm
36 37

Lukisan Keluarga Nelayan (1958), karya Renato Cristiano

K A R YA
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menampilkan cerita keluarga nelayan yang bersiap-siap

menuju ke suatu tempat, atau barangkali justru baru tiba
dari sesuatu tempat penagkapan ikan. Sebuah gambaran
berulang dari kehidupan sehari-hari yang, bergantung
pada berkah dan kekayaan laut.

The painting Keluarga Nelayan (Fisherman’s Family,

1958) by Renato Cristiano captures the moments
of a family of fisherman who are about to sail out
to a faraway place, or perhaps their arrival upon
the shore. This is a recurring image of everyday
life that is highly dependent on the blessings and
wealth of the sea.
2–30 AGUSTUS 2017

Renato Cristiano
Keluarga Nelayan
(Fisherman’s Family)
1958
cat minyak pada kanvas
(oil on canvas)
63 x 88 cm
38 39

K A R YA
SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Ernest Dezentje
Sungai Musi di Palembang
(River Musi at Palembang)
1946
cat minyak pada kanvas
(oil on canvas)
88 x 135 cm
40 41

Ruang-ruang yang membandingkan antara

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manusia dan alam, nampak pada lukisan

Bekerja di Sawah di Bali (1954), karya Rudolf
Bonnet. Ia menggambarkan alam yang luas
dengan menempatkan manusia atau petani
hanya sepotong obyek kecil di dalamnya.

The distinction that stands between man and

nature is seen through the painting Bekerja
di Sawah di Bali (Working on the Ricefields in
Bali, 1954) by Rudolf Bonnet. He depicts the
spacious grandeur of nature by portraying
man as simple farmers, small objects that are
merely immersed within nature.
2–30 AGUSTUS 2017

Rudolf Bonnet
Bekerja di Sawah di Bali
(Working on the
Ricefields in Bali)
1954
cat minyak pada kanvas
(oil on canvas)
50 x 70 cm
42 43

Kehidupan bergerak terus dengan dinamika dan

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cara bertahan masing-masing. Lukisan lain di

bagian ini; Pendjual Sate (1958) karya Lee Man Fong,
Pendjual Ayam (1949) karya Ries Mulder, Ketjintaan
(1963) karya Tino Sidin, mencoba merekam dari
dekat drama kehidupan sehari-hari.

Life continues to carry on with a certain dynamic

for survival. Paintings that showcase such a
concept are Pendjual Sate (Grilled Meat Vendor,
1958) by Lee Man Fong, Pendjual Ayam (Poultry
Dealer, 1949) by Ries Mulder, Ketjintaan (Beloved,
1963) by Tino Sidin that tries to mimic and
document the small dramas of everyday scenes.
2–30 AGUSTUS 2017

Ries Mulder
Pendjual Ayam
(Poultry Dealer)
1949
cat minyak pada kanvas
(oil on canvas)
170 x 111 cm
44 45

K A R YA
SENANDUNG IBU PERTIWI

Lee Man Fong Tino Sidin

Pendjual Sate Ketjintaan
(Grilled Meat Vendor) (Beloved)
2–30 AGUSTUS 2017

1958 1963
cat minyak pada cat minyak pada kanvas
hardboard (oil on canvas)
(oil on hardboard) 122 x 72 cm
122 x 60 cm
46 47

Itji Tarmizi
Lelang Ikan
(Fish Auction)
1963
cat minyak pada kanvas
(oil on canvas)
140 x 195 cm

Lukisan Lelang Ikan (1963), karya Itji Tarmizi,

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memotret masalah dan kehidupan keras para nelayan.

Mereka digambarkan sebagai sosok-sosok berkulit
agak gelap, bertelanjang dada, dan lengan berotot,
sedang bertransaksi di sebuah pasar yang dikuasai
oleh pemodal besar, berbadan besar, dan tertawa
besar. Sindiran atau mungkin kritik atas realitas
sosial cukup kuat membayang-bayangi karya ini.

The painting Lelang Ikan (Fish Auction, 1963)

by Itji Tarmizi portrays the struggles and
obstacles fishermen must overcome. They are
depicted as dark-skinned figures, shirtless with
muscular frames who are trading in a bustling
market, watched by broad-shouldered
sniggering bosses in the back. Thus, a satirical
2–30 AGUSTUS 2017

and critical note can be said to underpin the

social realism taking place in this artwork.
48 49

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Ida Bagus Made Widja

2–30 AGUSTUS 2017

Sambutan Rakjat Bali kepada Theo Meier

Presiden Sukarno Tari Redjang
(The People of Bali Welcome (Redjang Dance)
President Sukarno) 1952-1953
cat air pada kanvas cat minyak pada kanvas
(watercolor on canvas) (oil on canvas)
87 x 152 cm 186 x 252 cm
50 51

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SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Lukisan Tari Redjang karya

Theo Meier di Istana Cipanas
Theo Meier’s Tari Redjang
(Redjang Dance) painting
at the Cipanas Palace
 K A R YA
53

Tradisi dan
Identitas
TRADITION AND
IDENTITY
SENANDUNG IBU PERTIWI 2–30 AGUSTUS 2017
52
54 55

Koleksi Istana-Istana Kepresidenan memiliki lebih

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dari 50 lukisan bertema kebaya dan ragamnya. Pada

pameran ini ditampilkan beberapa di antaranya dalam
pelbagai pose. Lukisan Potret Sumilah (1949) karya
Soedibio misalnya, menggambarkan perempuan
berkebaya duduk bersila dengan latar pemandangan
yang nampak surealistik, alam rekaan yang tak hadir
dalam kehidupan nyata. Bisa jadi alam itu pula yang
diidentifikasi sebagai mimpi oleh pelukisnya.

The Presidential Palace’s Collection comprises of

over 50 paintings of women in kebaya and works
alike. This exhibition will display several of these
works with women in various poses. Such paintings
include Potret Sumilah (Portrait of Sumilah, 1949)
Soedibio
by Soedibio, which displays a young woman sitting Potret Sumilah
2–30 AGUSTUS 2017

cross-legged in a kebaya with a surreal landscape (Portrait of Sumilah)

1949
behind her. It can be said that the landscape is a cat minyak pada kanvas
realized image of one of the painter’s dreams. (oil on canvas)
152 x 92 cm
56 57

Lukisan seri berkebaya ini cenderung menampilkan sosok bergaya

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SENANDUNG IBU PERTIWI

dan suasana santai sehabis bekerja keras. Tiyul (1952) karya Sudarso,
memperlihatkan seorang perempuan berkebaya biru mengenakan
kain batik bersandar pada meja. Perempuan Berkebaya karya Barli,
menggambarkan seorang perempuan duduk anggun pada sebuah kursi.
Menunggu Hidangan karya F. Holleman, memperlihatkan sosok perempuan
berkebaya duduk di sebuah kursi. Di sampingnya ada meja makan dengan
beberapa sajian yang telah disiapkan. Selain itu ada pula lukisan Dua Gadis
Bali (1960) karya Fadjar Sidik, dan Wanita Yogya (1952) karya Trubus.

The series of kebaya paintings features the air of one’s stylish figure and
a relaxed disposition after a long day of hard work. Tiyul (Tijul, 1952), one
of Sudarso’s works, engenders a young girl wearing a blue batik cloth
leaning against a table. Perempuan Berkebaya (Woman in Kebaya) by Barli,
depicts a young lady sitting gracefully on a chair. Menunggu Hidangan
(Waiting to Be Served with Lunch), a piece by F. Holleman, displays a young
2–30 AGUSTUS 2017

girl wearing kebaya as she sits awaiting her meal. Beside her is a table, laid Trubus Sudarsono
out with a variety of dishes that are ready to be served. In addition, there Wanita Yogya
(Woman from Yogya)
are paintings such as Dua Gadis Bali (Two Balinese Girls, 1960) by Fadjar 1952
Sidik and Wanita Yogya (Woman from Yogya, 1952) by Trubus. cat minyak pada kanvas
(oil on canvas)
109 x 89 cm
58 59

K A R YA
SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Fadjar Sidik Thamdjidin

Barli Sasmitawinata Dua Gadis Bali Sudarso Wanita Berkebaya Hijau Frida Holleman
Perempuan Berkebaya (Two Balinese Girls) Tiyul (Tijul) (Woman on Green Kebaya) Gadis Berkebaya
(Woman in Kebaya) 1960 1952 1955 (Waiting to Be Served with Lunch)
cat minyak pada kanvas cat minyak pada kanvas cat minyak pada kanvas cat minyak pada kanvas cat minyak pada kanvas
(oil on canvas) (oil on canvas) (oil on canvas) (oil on canvas) (oil on canvas)
97 x 77 cm 89 x 65 cm 118,5 x 89,5 cm 200 x 130 cm 96 x 80 cm
60 61

Dalam lukisan Perempuan Berkebaya Kuning (1964) karya Sumardi

K A R YA
SENANDUNG IBU PERTIWI

nampak irisan sub-tema pemandangan alam dan tradisi. Di situ

seorang perempuan digambarkan berkebaya tengah berdiri dengan
latar belakang pantai dan langit biru. Lukisan Wanita di Lereng Bukit
(1957) karya Gambiranom Suhardi, kurang lebih menggambarkan hal
sama, seorang perempuan berkebaya berpose santai di lereng bukit.
Dalam kaitan ini kebaya ditampilkan sebagai sebuah identitas, dan
dipakai dalam kehidupan sehari-hari.

It can be said that within Sumardi’s Perempuan Berkebaya

Kuning (Woman on Yellow Kebaya, 1964), the elements of our
subthemes, natural landscapes and tradition, are present. In
the painting, a young woman is depicted wearing a kebaya,
standing in the centre with a beach and a blue sky behind
her. Gambiranom Suhardi’s Wanita di Lereng Bukit (Woman
on Hillside, 1957) more or less portrays the same subject; a
2–30 AGUSTUS 2017

woman dressed in kebaya posing on a hillside with a relaxed

Sumardi Gambiranom Suhardi
poise. Therefore, the kebaya becomes an identity and is Perempuan Berkebaya Kuning Wanita di Lereng Bukit
(Woman on Yellow Kebaya) (Woman on Hillside)
worn in the daily lives of these subjects. 1964 1957
cat minyak pada kanvas cat minyak pada kanvas
(oil on canvas) (oil on canvas)
136 x 100 cm 100 x 80 cm
62 63

K A R YA
SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Hendra Gunawan Kosnan Sumardi

Bakul Buah Keluarga Tani Perempuan Berkebaya
(Fruit Vendor) (A Farmer’s Family) Kuning (Woman on
ca. 1962 ca. 1962 Yellow Kebaya), 1964
cat minyak pada kanvas cat minyak pada kanvas 136cm x 100cm
(oil on canvas) (oil on canvas) cat minyak di atas
167,5 x 63,5 cm 150 x 150 cm kanvas (oil on canvas)
64 65

Lukisan Halimah Gadis Aceh (1951) karya

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SENANDUNG IBU PERTIWI

Dullah, menggambarkan seorang perempuan

berpose dalam posisi duduk. Pada lukisan lain
diperlihatkan juga irisan antara pemandangan
alam dengan tradisi pakaian adat, seperti
terlihat pada lukisan Gadis Toraja (1957) karya
Henk Ngantung, di mana seorang gadis duduk
santai di atas batu dengan latar alam terbuka.

Halimah Gadis Aceh (Halimah, An Atjeh

Girl, 1951) by Dullah captures a young girl
sat down on a chair. Also seen in other
paintings the amalgamation of natural
landscapes and tradition, as seen through
Henk Ngantung’s Gadis Toraja (A Toraja
Girl, 1957) as the model wears traditional
2–30 AGUSTUS 2017

clothing. Here, she is depicted sitting

Dullah
down on a rock in open air. Halimah Gadis Atjeh
(Halimah, An Atjeh Girl)
1951
cat minyak pada kanvas
(oil on canvas)
94 x 74.5 cm
66 67

K A R YA
SENANDUNG IBU PERTIWI

Wardoyo Wardoyo
Penari Pria Kalimantan Timur Penari Wanita Kalimantan Timur
(Dayak Dancer) (Dayak Dancer)
1983 1983
cat minyak pada kanvas cat minyak pada kanvas
(oil on canvas) (oil on canvas)
130 X 84 cm 130 X 84 cm
2–30 AGUSTUS 2017

Henk Ngantung
Gadis Toraja
(A Toraja Girl)
1957
cat minyak pada kanvas
(oil on canvas)
125 x 90,5 cm
 K A R YA
69

dan Religi
Mitologi
MYTHOLOGY AND
RELIGION
SENANDUNG IBU PERTIWI 2–30 AGUSTUS 2017
68
70 71

Mitologi kecantikan dan kuasa seorang perempuan, cukup banyak dalam literatur

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SENANDUNG IBU PERTIWI

di Nusantara. Misalnya cerita tentang Dewi Durga, yang berasal dari khazanah
Hinduisme. Di kawasan Jawa Timur dan Bali, ada cerita Calon Arang, seorang
perempuan yang ditakuti karena kesaktiannya. Di Sumatra Barat ada mitos Bundo
Kanduang. Sebuah referensi sangat unik, dan menjelma dalam pola Matrilinial,
di tengah masyarakat Patrilinial yang dominan di Nusantara. Di Yogyakarta,
luas dikenal cerita tentang Nyai Roro Kidul, yang digambarkan sebagai seorang
perempuan berparas cantik, penguasa pantai dan laut Selatan. Cerita ini kerapkali
digambarkan dalam lukisan. Salah satu di antaranya ditampilkan dalam pameran
ini lewat karya Basoeki Abdullah berjudul Nyai Roro Kidul (1955).

Mythology about the beauty and power of a woman appears quite frequently
in Indonesian literature: such as the story about Dewi Durga, who originated
from Hinduism. In East Java and Bali, there is the story of Calon Arang, a
woman feared for her supernatural powers, and the West Sumatran myth of
Bundo Kanduang. This is quite unusual as this incarnates a matrilineal trend
2–30 AGUSTUS 2017

in this country’s patrilineal-dominant society. In Yogyakarta, there is a widely Basoeki Abdullah

Nyai Roro Kidul
known story about Nyi Roro Kidul, who is depicted as a beautiful woman and
(Queen of the South Seas)
ruler of the South Coast and seas. This story is often described in paintings. 1955
cat minyak pada kanvas
One of them is featured in this exhibition through the work of Basoeki (oil on canvas)
Abdullah entitled Nyai Roro Kidul (Queen of the South Seas, 1955). 160 x 120 cm
72 73

Nusantara bukan hanya kawasan yang memiliki pelbagai

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mitologi yang mengandung nilai-nilai mistis dan

antropologis, tapi lokus yang disinggahi hampir seluruh
agama-agama besar di dunia. Kerajaan-kerajaan besar
yang tumbuh di Jawa, Sumatra, dan pulau-pulau besar
lainnya adalah ladang persemaian pelbagai ajaran yang,
artefaknya masih bisa kita lihat hingga hari ini.

This archipelago is not only a region that has

numerous myths containing mystical and
anthropological values, but also a locus that has
created elements appropriated by almost all of the
major religions in the world. The major kingdoms
that prospered in Java, Sumatra, and other large
islands are a melting pot for teachings whose
artefacts we can still find today. Basoeki Abdullah
2–30 AGUSTUS 2017

Gatotkaca dengan Anak-anak

Arjuna, Pergiwa-Pergiwati
(Gatotkaca with Arjuna’s
Daughters, Pergiwa-Pergiwati)
1955
cat minyak pada kanvas
(oil on canvas)
255 x 170 cm
74 75

Pengalaman sangat panjang itu memungkinkan lapisan

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demi lapisan nilai tumbuh bersamaan, saling menopang

dan menguatkan satu sama lain. Kata toleransi tumbuh
sebagai kekuatan batin dari dulu hingga terbentuknya
bangsa dan negara modern Indonesia saat ini. Kerukunan
tidak hanya sebagai sebuah cita-cita yang tinggi, tapi juga
dipraktikkan dalam kehidupan sehari-hari. Dasar-dasar
itu pula yang nampak pada karya-karya yang ditampilkan
dalam pameran ini.

This long journey allows values to grow together, layer

by layer, mutually supporting and strengthening each
other. This can be seen through the idea of tolerance
—what began as a personal value that has nurtured and
become the backbone of today’s modern Indonesia.
Harmony is no longer a far reaching objective, but is
2–30 AGUSTUS 2017

Basoeki Abdullah now practiced in everyday life. The foundations of which

Djika Tuhan Murka
(If God Gets Angry) are evident in the works displayed in this exhibition.
1949–1950
cat minyak pada kanvas
(oil on canvas)
200 x 300 cm
76 77

K A R YA
SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Lukisan Djika Tuhan Murka karya

Basoeki Abdullah di Istana Bogor
Djika Tuhan Murka (If God Gets
Angry) painting by Basoeki
Abdullah at the Bogor Palace
78 79

Lukisan Bertapa di Candi Tebing Bali Abad Kesebelas (1930)

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karya Walter Spies menggambarkan seseorang tengah

bersemedi menyucikan diri di sebuah tempat. Permainan aspek
cahaya di antara lindap dan gelap dalam karya ini, menguatkan
pesan mistis dan religiositas. Lukisan Tiga Pedanda (1962)
karya Alimin Tamin, menggambarkan tiga pendeta Hindu
dengan segala atributnya tengah khusyuk berdoa.

Bertapa di Candi Tebing Bali Abad Kesebelas (Meditating

in an Eleventh Century Balinese Rock-cut Temple,
1930) by Walter Spies depicts a person meditating and
purifying himself. The game of light between dim and
dark strengthens the mystical and religious message of
this piece. Tiga Pedanda (Three High Priests, 1962) by
Alimin Tamin depicts three Hindu priests, with all their
attributes, in the middle of praying.
2–30 AGUSTUS 2017

Walter Spies
Bertapa di Candi Tebing Bali Abad Kesebelas
(Meditating in an Eleventh Century Balinese Rock-cut Temple)
1930
cat minyak pada hardboard
(oil on hardboard)
65 x 80 cm
80 81

K A R YA
SENANDUNG IBU PERTIWI
2–30 AGUSTUS 2017

Alimin Tamin
Tiga Pedanda Sudarso
(Three High Priests) Madonna
1962 1955
cat minyak pada kanvas cat minyak pada kanvas
(oil on canvas) (oil on canvas)
77 x 59 cm 100 x 75 cm
82 83

K A R YA
SENANDUNG IBU PERTIWI

> I Gusti Ketut Kobot

Sembahjang Dewa
(Offering to the Gods)
1962
cat air pada kanvas
(watercolor on canvas)
98 x 66,5 cm
2–30 AGUSTUS 2017

>> Ida Bagus Made Poleng

Sesadji Dewi Sri
(Offering to the Rice Goddess)
1953
cat air pada kanvas
(watercolor on canvas)
208 x 260 cm
84 85

Ahmad Sadali menampilkan karya Kaligrafi, dan A.D. Pirous

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SENANDUNG IBU PERTIWI

menyajikan karya Subuh/Doa VIII (1980). Kedua karya tersebut

menghadirkan suasana hening, dengan pertimbangan
komposisi dan bidang-bidang gambar yang kuat. Dua tokoh
seni rupa Bandung ini pelopor abstrakisme di Indonesia.
Dalam karya-karya, keduanya kerapkali memasukkan unsur
kaligrafi dan potongan ayat-ayat Al-Quran. Kecenderungan ini
nampak sejalan dengan keyakinan sebagian umat Islam, yang
menghindari representasi sosok.

Ahmad Sadali presents Kaligrafi (Calligraphy) and A.D.

Pirous presents Subuh/Doa VIII (At Dawn/Prayer VIII,
1980). Both pieces evoke a quiet atmosphere, with
consideration of the composition and strong areas of the
image. These two art individuals originating from Bandung
are pioneers of abstract art in Indonesia. In these works,
2–30 AGUSTUS 2017

they include elements of calligraphy and verses of the

Ahmad Sadali
Quran. This tendency appears to be in line with the beliefs Kaligrafi (Calligraphy)
of some Muslims who avoid representation of a figure. 1980
cat minyak pada kanvas
(oil on canvas)
40 x 37 cm
86 87

Sepilihan karya dalam pameran ini,

SENANDUNG IBU PERTIWI

kiranya dapat menawarkan nilai-nilai baik

dan ruang belajar seluas-luasnya. Melihat
masa lalu adalah tindakan bijak untuk
menghadapi tantangan hari ini dan nanti.

Hopefully this selection of artworks

will spread good values and offer a wide
learning space for all. Looking into the
past is never a foolish act as it leads us
to understand and face the challenges
of today and tomorrow.
2–30 AGUSTUS 2017

Abdul Djalil Pirous

Subuh/Doa VIII
(At Dawn/Prayer VIII)
1980
serigrafi edisi 22/70
(serigraphy)
70 x 50 cm
88
B I O D ATA K U R AT O R
CURATORS’ BIODATA
ASIKIN HASAN
Kurator Galeri Salihara (dahulu
Galeri Lontar). Anggota tim
kurator Galeri Nasional Indonesia.
Pendidikan: S1 FSRD ITB,
kursus singkat kurator di
Tokyo, Hiroshima, Fukuoka,
SENANDUNG IBU PERTIWI
dan Kyoto atas sponsor The
Japan Foundation. Pengalaman
Kuratorial: Biennale Jakarta
XI, Trienal Seni Patung DKJ,
TRANSIT, Pameran Media Baru,
di Townsville, Brisbane, Darwin-
Australia. Enchanted Shadow,
Pameran perupa kontemporer
Indonesia di Washington DC-
USA. SEA+ TRIENNALE 2013,
Masters of Modern Indonesian
Portraiture, Portrait Gallery,
Canberra. ROOTS, Frankfurter
Kunstverein, Frankfurt, Jerman.
Kurator untuk Kuandu Biennale:
Slaying Monsters, Taipei, Taiwan.
Ditunjuk sebagai kurator untuk
pameran instalasi Europalia,
di Dynasty Building, Brussels,
dan MAS, Antwerpen, Belgia.
Publikasi: Dua Seni Rupa:
Sepilihan Tulisan Sanento
Yuliman, (Kalam 2001), Seni Rupa
Indonesia dalam Kritik dan Esai
(Dewan Kesenian Jakarta 2012)
2–30 AGUSTUS 2017
Curator of Galeri Salihara
(previously known as Galeri
Lontar). Member of the
curatorial team at the
Indonesian National Gallery.
Education: Bachelor’s degree
from the Faculty of Fine Arts
and Design at the Bandung
Institute of Technology, attended
short courses on curation in
Tokyo, Hiroshima, Fukuoka,
and Kyoto sponsored by The
Japan Foundation. Curatorial
Experience: Biennale Jakarta
XI, DKJ Sculpture Trienal,
TRANSIT, New Media Exhibition
in Townsville, Brisbane, Darwin-
Australia. Enchanted Shadow,
an Indonesian contemporary
arts exhibition in Washington
D.C.-USA. SEA+ TRIENNALE
2013, Masters of Modern
Indonesian Portraiture, Portrait
Gallery, Canberra. ROOTS,
Frankfurter Kunstverein,
Frankfurt, Germany. Curator
for Kuandu Biennale: Slaying
Monsters, Taipei, Taiwan. Chosen
as the curator for the Europalia
installation exhibition in Dynasty
Building, Brussels, and MAS,
Antwerp, Belgium.
Publications: Dua Seni Rupa:
Sepilihan Tulisan Sanento
Yuliman (Kalam 2001), Seni Rupa
Indonesia dalam Kritik dan Esai
(Dewan Kesenian Jakarta 2012)
A M I R S I D H A R TA
Kurator/direktur Museum
Universitas Pelita Harapan/
Museum Lippo, pengajar
arsitektur dan sejarah arsitektur
dan sejarah seni di Universitas
Pelita Harapan. Pendiri dan
direktur utama Sidharta
Auctioneer. Ketua Harian
Yayasan Mitra Museum Jakarta.
Pendidikan: S1 sejarah seni
rupa di Oberlin College (1982)
dilanjutkan dengan arsitektur di
University of Michigan. Dengan
hibah Fulbright, tahun 1992-
1993 belajar museologi (S2) di
George Washington University.
Mengikuti program Executive
MBA Peking University serta
Magister Manajemen dalam
Strategi Global dari Universitas
Pelita Harapan. Pengalaman
kuratorial: Si Optimis S. Sudjojono
(Museum Pelita Harapan 1998),
Soul Ties (Singapore Art Museum
1999), Pameraya H. Widayat
(Galeri Nasional Indonesia,
2000), Pavilion Indonesia (La
Bienale di Venezia, Italia 2004),
Beyond Mooi Indie, (Art1 Museum
Bazaar Art, Jakarta 2013), Affandi
Alive (Museum @ Lippo Plaza,
Yogyakarta 2015) Publikasi:
Vibrant Arie Smit (Hexart
2002), S. Sudjojono: Visible Soul
(Museum S.Sudjojono dan Galeri
Canna 2006), Tegang bentang:
Seratus Tahun Perspektif
Arsitektur di Indonesia (Gramedia
Pustaka Utama 2012), Jejak
Lukisan Palsu Indonesia (PPSI
2013)
Curator and director of Pelita
Harapan University Museum/
Lippo Museum, Lecturer for
Architecture, History of
Architecture and History
of Art at the Pelita Harapan
University. Founder and
director of Sidharta Auctioneer.
Chairman of Yayasan Mitra
Museum Jakarta. Education:
BA in Art History, Oberlin
College (1982) proceeding
with a BA in Architecture at
the University of Michigan.
With Fulbright grants between
1992-1993, studied MA Museum
Studies and Conservation at
George Washington University.
Participated in the Executive
MBA Peking University program
and a Masters in Management
in Global Strategy at the
Universitas Pelita Harapan.
Curatorial experience: Si
Optimis S. Sudjojono (Museum
Pelita Harapan 1998), Soul
Ties (Singapore Art Museum
1999), H. Widayat Exhibition
(Indonesian National Gallery,
2000), Indonesian Pavilion
(La Bienale di Venezia, Italy
2004), Beyond Mooi Indie, (Art1
Museum Bazaar Art, Jakarta
2013), Affandi Alive (Museum
@ Lippo Plaza, Yogyakarta
2015) Publications: Vibrant
Arie Smit (Hexart 2002), S.
Sudjojono: Visible Soul (Museum
S.Sudjojono and Galeri Canna
2006), Tegang bentang: Seratus
Tahun Perspektif Arsitektur di
Indonesia (Gramedia Pustaka
Utama 2012), Jejak Lukisan
Palsu Indonesia (PPSI 2013)
MIKKE SUSANTO
Dosen Institut Seni Indonesia dan
kurator indepeden. Pendidikan:
S1 di FSRD ISI-Yogyakarta,
dan melanjutkan S2 di UGM,
kini menempuh pendidikan S3
Kajian Seni UGM. Pengalaman
kuratorial: Jogja Biennale
(2005), Pameran Besar Seni
VIsual EXPOSIGN, melibatkan
500 ALUMNI ASRI/STSRI/
ISI Yogyakarta. Pameran 17/71:
Goresan Juang Kemerdekaan-
-Pameran Benda Seni Koleksi
Istana-Istana Kepresidenan
Republik Indonesia. Publikasi:
JEIHAN: Maestro Ambang
Nyata dan Maya (Jakarta: KPG,
2017); 17/71: Goresan Juang
Kemerdekaan – Koleksi Benda
Seni Istana Kepresidenan
RI (Jakarta: Kemensetneg
RI, 2016); BUNG KARNO:
Kolektor dan Patron Seni Rupa
Indonesia (2014); Risalah Rajah
Sosrokartono: Lukisan Profetik
KH. M. Fuad Riyadi di era
Postmodern (Lidah Wali, 2011);
DIKSI RUPA: Kumpulan Istilah
dan Gerakan Seni Rupa (Dictiart
Lab & Djagad Art House,
Yogyakarta, 2011); Theater of
the Face, Pupuk Daru Purnomo,
(Garis Art Space, Jakarta).
Lecturer at the Indonesian
Fine Arts Institute Yogyakarta
(ISI) and independent
curator. Education:
Bachelor’s degree from
the Faculty of Fine Arts and
Design at the Indonesian Art
Institute Yogyakarta, with a
Master’s degree from the
Gadjah Mada University, and
received a Doctorate in Art
Studies from the Gadjah
Mada University. Curatorial
experience: Jogja Biennale
(2005), EXPOSIGN Visual
Art Exhibition involving
500 alumni of ASRI/
STSRI/ISI Yogyakarta. 17/71
Exhibition: Goresan Juang
Kemerdekaan--Exhibition
of the Artefacts of the
Presidential Palaces of
the Republic of Indonesia.
Publications: JEIHAN:
Maestro Ambang Nyata
dan Maya (Jakarta: KPG,
2017); 17/71: Goresan
Juang Kemerdekaan –
Koleksi Benda Seni Istana
Kepresidenan RI (Jakarta:
Kemenstneg RI, 2016);
BUNG KARNO: Kolektor
dan Patron Seni Rupa
Indonesia (2014); Risalah
Rajah Sosrokartono: Lukisan
Profetik KH. M. Fuad Riyadi di
era Postmodern (Lidah Wali,
2011); DIKSI RUPA: Kumpulan
Istilah dan Gerakan Seni Rupa
(Dictiart Lab & Djagad Art
House, Yogyakarta, 2011);
Theater of the Face, Pupuk
Daru Purnomo (Garis Art
Space, Jakarta).
S A L LY T E X A N I A
Kurator Independen di Jakarta,
Indonesia Pendidikan: pernah
mengikuti pertukaran pelajar
di Insitute de la Vierge Fidele,
Brussels-Belgia. Lulus S1
Studio Seni Lukis FSRD ITB,
S2 Hubungan Internasional,
Fakultas Ilmu Sosial dan Politik
UI. Mengikuti pelatihan metoda
baru pendidikan seni pada Karin
Rottman-Cologne Museum
Educational Service (2015) dan
Sepake Angiama - Documenta
14 (2016). Pengalaman kerja:
asisten dosen untuk mata kuliah
estetika di ITB dan Program
Manager Selasar Sunaryo Art
Space (2008), Head of Museum
Ciputra Artpreneur (2014-2016).
Pengalaman kuratorial : Pameran
“Bandung New Emergence
#5”(Selasar Sunaryo Art Space,
2014), Ideologism dynamics and
Nationhood: Ir. Ciputra Private
Collection (Ciputra Artpreneur,
2014), Jati Diri (Museum Seni
Rupa dan Keramik, 2016). Forum
: Forum Kurator Muda (Cemeti
Arthouse, 2013), Anggota
curatorial board CuratorsLAB -
Goethe Institut, sebuah proyek
dengan fokus praktik kuratorial
terkini di Asia Tenggara.
Independent Curator
in Jakarta, Indonesia
Education: participated in a
student exchange program
at the Institut de la Vierge
89
Fidele, Brussels-Belgium.
BFA in Studio Painting,
Faculty of Art and Design
(FSRD) at the Institute of
Technology Bandung (ITB),
MSc International Relations,
Faculty of Social and Political
KA
B
I ORD
Sciences at the University of
YA TA K U R ATO R
Indonesia. Training program
for new educational methods
in the Arts at the Karin
Rottman-Cologne Museum
Educational Service (2015)
and Sepake Angiama -
Documenta 14 (2016). Work
experience: Professor’s
Assistant for visual courses
at ITB and Program Manager
Selasar Sunaryo Art Space
(2008), Head of Museum
Ciputra Artpreneur (2014-
2016). Curatorial experience:
Pameran “Bandung New
Emergence #5”(Selasar
Sunaryo Art Space, 2014),
Ideologism dynamics and
Nationhood: Ir. Ciputra
Private Collection (Ciputra
Artpreneur, 2014), Jati Diri
(Museum Seni Rupa dan
Keramik, 2016). Forum
: Forum Kurator Muda
(Cemeti Arthouse, 2013),
Member of the curatorial
board at CuratorsLAB -
Goethe Institut, a project
focusing on curatorial
practice in Southeast Asia.
90 91

K E G I ATA N
PA M E R A N
EXHIBITION
ACTIVITIES

Workshop Melukis Tas Kanvas bersama Komunitas Difabel

K A R YA
SENANDUNG IBU PERTIWI

Canvas Bag Painting Worshop with Disable Community

10 AGUS TUS 2017

Diskusi Para Pakar: Menjaga Ibu Pertiwi

Expert Talk: Taking Care of Ibu Pertiwi
19 AGUS TUS 2017

Lomba Lukis Kolektif Tingkat Nasional

National Painting Competition
26 AGUS TUS 2017

Workshop Menjadi Apresiator Seni

Terhebat se-Jabotabek
Art Best Apresiator Workshop
29 AGUS TUS 2017

Tur Galeri Gallery Tour

2–30 AGUSTUS 2017

SETIAP SABTU & MINGGU

Patung Acting Cautiously karya Zsigmond PUKUL 10.00 WIB
Kisfaludi Strobl yang terdapat di Istana Bogor
Acting Cautiously sculpture by Zsigmond
Kisfaludi Strobl at the Bogor Palace
92
B I O D ATA P E R U PA
ARTISTS’ BIODATA
Abdullah Suriosubroto
SENANDUNG IBU PERTIWI
(Semarang, 1878–Yogyakarta, 1941)
Tahun 1900an Abdullah Suriosubroto
belajar ilmu kedokteran di Belanda.
Alih-alih menyelesaikan pendidikannya,
ia memilih menjadi seorang pelukis. Ia
sempat tinggal di Istana Yogyakarta
sebagai penjaga istana dan polisi,
lalu pindah dan berkarya di Bandung.
Pada 1930 ia kembali ke Belanda
mengikuti pendidikan persiapan
Voorbereidende Tekenschool di Leiden
sebelum melanjutkan pendidikan
di Akademi Seni Rupa Amsterdam.
Ia juga mempelajari seni rupa yang
berkembang di Paris, Perancis
sebelum kembali ke Jawa pada 1935.
Abdullah yang dikenal sebagai pelukis
pemandangan, memiliki tiga anak,
semuanya menjadi pelukis.
As a young man, he was first sent to
Holland to study medicine in 1900.
However, instead of completing his
studies, he chose to pursue painting
2–30 AGUSTUS 2017
instead. After living in Yogyakarta as
a sultan’s palace guard and police
officer, he moved to Bandung wherein
he surrounded himself with art and
painting. In 1930, he returned to Holland
and attended the Preparatory Art
School (Voorbereidende Tekenschool)
in Leiden before attending the Art
Academy in Amsterdam. He traveled to
Paris, France and studied from painterly
masters before returning to Java in
1935. Suriosubroto had three children,
all of whom became artists. He was
later known as one of Indonesia’s most
prominent landscape painters.
Alimin Tamin
(Solok 1930–Yogyakarta 2004)
Ia mulai kariernya sebagai pelukis pada
1952 di bawah bimbingan S. Sudjojono
dan Harijadi. Setelah berpartisipasi di
kelompok Seniman Muda Indonesia
(SIM) di Yogyakarta, ia pindah ke
Jakarta dan membuat asosiasi seniman
bernama Matahari dengan bantuan
Nashar di Balai Budaya. Alimin
mengikuti berbagai pameran seni rupa
di Bandung, Jakarta, Yogyakarta, dan
Denpasar antara tahun 1954-1957. Dia
mengajar ilmu gambar di Universitas
Udayana, Denpasar dan menjadi ketua
Asosiasi Seniman Indonesia Citra di Bali
sampai 1978.
He started his painting career in 1952
under the guidance and teachings of S.
Sudjojono and Harijadi. After being a part
of the Seniman Muda Indonesia group
in Yogyakarta, he moved to Jakarta and
founded the Matahari artist’s association
with Nashar at the Balai Budaya. He
has participated in many exhibitions
in Bandung, Yogyakarta and Denpasar
in 1954-1957. He taught drawing at
Udayana University in Denpasar and
became chairman of the Indonesian
artist’s association Citra in Bali until 1978.
Barli Sasmitawinata
(Bandung 1921–Bandung, 2007)
Barli mulai melukis pada tahun 1935.
Ia pernah belajar dari Joz Pluimentz,
seniman asal Belgia, dan Luigi Nobili,
seniman asal Itali. Saat belajar, ia
berteman dengan Affandi, kemudian
membentuk Kelompok Lima Bandung
dengan Hendra Gunawan, Sudarso,
dan Wahdi Sumanta. Ia juga membuat
poster-poster perjuangan di periode
perang kemerdekaan. Pada tahun
1950, ia meneruskan pendidikannya di
Perancis dan Belanda. Sekembalinya
ke Indonesia, ia mengajar di Institut
Teknologi Bandung. Sepanjang
hidupnya, ia mendirikan beberapa
studio termasuk Sanggar Seni Rupa
Jiwa Mukti (1948), Studio Rangga
Gempol (1958), dan Bale Seni Barli. Ia
menerima penghargaan Satyalencana
Kebudayaan dari pemerintah Indonesia
pada 2003.
Barli started painting in 1935, when
he learned realistic style from Belgian
artist Joz Pluimentz, and Italian artist
Luigi Nobili. While learning, he made
friends that lead him to be a member
of Kelompok Lima (Group of Five)
in Bandung with Affandi, Hendra
Gunawan, Sudarso, and Wahdi Sumanta.
Barli also produced posters during
Indonesia’s War for Independence
and in 1950, he continued his studies
in France and the Netherlands. Upon
returning to Indonesia, he taught at the
Bandung Institute of Technology. He
built several studios throughout his life,
including Sanggar Seni Rupa Jiwa Mukti
(1948), Studio Rangga Gempol (1958),
and Bale Seni Barli. He received the
“Satyalencana Kebudayaan” award from
the Indonesian government in 2003.
Basoeki Abdullah
(Solo, 1915–Jakarta, 1993)
Basoeki sudah menunjukkan bakat
yang kuat dalam melukis dari usia yang
muda. Mungkin bakat ini diwarisinya
dari sang ayah Abdullah Suriosubroto.
Ia menempuh pendidikan di Solo hingga
1933, kemudian mendapat beasiswa
untuk belajar di Koninklijke Academie
Voor Beeldende Kunsten di Den Haag,
Belanda. Ia terkenal sebagai pelukis
potret. Banyak karyanya dikoleksi oleh
Presiden Sukarno.
Since a young age, Basoeki Abdullah
showed a strong talent in painting that
he could have inherited from his father,
Abdullah Suriosubroto. He received his
formal education in Solo in 1933, before
attending the Koninklijke Academie Voor
Beeldende Kunsten (The Royal Academy
of Art) in Den Haag, the Netherlands,
under a scholarship. Mostly known as a
portrait painter, many of his works were
collected by Indonesia’s first president,
Sukarno.
Bonnet, Rudolf
(Amsterdam, Belanda, 1895–Laren,
Belanda, 1978)
Bonnet menempuh pendidikan
kesenian di Hendrick de Keijserschool,
the Rijkschool voor Kunstnijverheid
dan the National Academy of the Fine
Arts in Amsterdam. Bersama Walter
Spies dan Tjokorda Gede Agung
93
Sukawati ia mendirikan kelompok
KA
B
I ORD
pelukis bernama Pita Maha pada 1935.
YA TA P E R U PA
Kelompok ini kemudian menjadi saksi
dari pertumbuhan generasi baru di Bali
yang mengalami proses perpaduan
seni tradisi dan seni modern di Bali. Ia
menerima penghargaan Satyalencana
Kebudayaan dari pemerintah Indonesia
pada tahun 1980.
Bonnet completed his art education
at the Hendrick de Keijserschool, the
Rijkschool voor Kunstnijverheid, and
the National Academy of the Fine Arts
in Amsterdam. With Walter Spies and
Tjokorda Gede Agung Sukawati, he
founded the painting group Pita Maha in
1935. This group later witnessed a new
Balinese generation that experienced
the combination of traditional and
modern art in Bali. He received the
Satyalencana Kebudayaan award from
the Indonesian government in 1980.
Cristiano, Renato
(Roma, 1926)
Renato Cristiano lahir di Roma pada
1926. Ia sekolah di The Museo Artistico
Industriale dan Academia of Fine
Art—Perugia. Ia pindah ke Paris dengan
beasiswa pemerintah Perancis pada
94
1950. Tahun 1955 ia pindah ke Bali dan
SENANDUNG IBU PERTIWI
berkenalan dengan seniman Rudolph
Bonnet. Tahun 1962 pernah membangun
studio di Bali, namun setelah terjadinya
erupsi Gunung Agung tahun 1963
dan pergolakan politik Indonesia 1965
Cristiano memutuskan untuk hidup
di Roma. Ia pernah menjadi kurator
Museum Puri Lukisan dan seringkali
berdiskusi dengan Presiden Sukarno di
istana Tampaksiring mengenai koleksi
seni rupa istana.
Renato Cristiano was born in Rome
in 1926. He attended courses at the
Museo Artistico Industriale and studied
at the Academy of Fine Arts in Perugia.
In 1950, he moved to Paris upon his
scholarship grant from the French
government. Cristiano later arrived in
Bali in 1955, where he met Bonnet. He
built a studio in Bali in 1962, but after
the great eruption of Mount Agung in
1963 and Indonesia’s political upheaval
in 1965, the artist left Bali for Rome.
2–30 AGUSTUS 2017
He was previously a curator for the Puri
Lukisan Museum in Ubud, Bali, and often
received invitations from President
Sukarno to come to the Tampaksiring
Palace to discuss the palace’s art
collection.
Dake, Carel Lodewijk, Jr.
(Schaerbeek, Belgia, 1886–Jakarta, 1946)
Ia merupakan murid dari pelukis
Belanda E. Pieters, A.M Gorter dan
H.M Krabbe. Pertama kali datang ke
Indonesia pada tahun 1912 dan menetap
di Sumatra, Bali, dan Jawa. Ia pernah
menggelar pameran solo di Bogor dan
Bandung (1919) serta Jakarta (1933).
Ia menciptakan tiga diorama besar di
World’s Fair -San Francisco (1915) yang
memperkenalkan Indonesia ke dunia
internasional.
He studied painting from painters such
as E. Pieters, A.M. Gorter and H.M.
Krabbe. He first came to Indonesia in
1912 and spent time in Sumatra, Bali,
and Java. He has held numerous solo
exhibitions in Bogor and Bandung
(1919) and Jakarta (1933). One of his
greatest achievements is creating three
large dioramas for the World’s Fair in
San Francisco in 1915, which helped
introduce Indonesia to the world.
Dezentjé, Ernest
(Jatinegara, Jakarta, 1885–Jakarta, 1972)
Lahir dari keluarga campuran ­ —ayah
Belanda dan ibu Indonesia— ia mengawali
kariernya dengan mengelola perkebunan
teh dan kina selama 20 tahun.
Pengalaman tersebut memberikan
ikatan batin yang kuat dengan lanskap
gunung dan desa, yang memengaruhi
gaya impresionisnya. Ia belajar seni lukis
secara otodidak dengan banyak belajar
dari teman-temannya, termasuk G.
Adolf, R. Bonnet, dan C.L. Dake. Pada
1920, ia bergabung bersama Bataviasche
Kuntskring. Setelah kemerdekaan
Indonesia, ia menjadi warga nergara
Indonesia. Pameran tunggalnya di
Jakarta antara lain di Kunstzaal Kolff
& Co (1936), Charles Van ES (1937),
dan Expositiezaal F. van Eelde (1939).
Karyanya antara lain dikoleksi oleh
Tropenmuseum, Amsterdam.
Born from a Dutch father and an
Indonesian mother, Dezentjé spent 20
years of his life running his family’s tea
and quinine plantation. As a result of
this experience, he developed a strong
attachment to mountain and village
landscapes, which later underpinned
his impressionist painting style. He was
an autodidact who also learned from
many of his friends, including G. Adolf,
R. Bonnet, and C.L. Dake. In 1920, he
joined the Bataviasche Kuntskring, a
group of Dutch artists residing in the
Dutch East Indies. He joined many of
their exhibitions from 1936-1939. He
held many solo exhibitions in Jakarta at
the Kunstzaal Kolff & Co (1936), Charles
& Van ES (1937), and Expositiezaal F. van
Eelde (1939). His works are collected at
the Tropenmuseum in Amsterdam.
Dullah
(Solo, 1919 –Yogyakarta, 1996)
Dullah adalah pelukis Istana yang
menyusun buku lukisan-lukisan koleksi
Istana Presiden Sukarno. Lewat praktik
merawat dan memamerkan koleksi
istana, ia juga dikenal sebagai seorang
proto-kurator Indonesia. Tahun 1949,
saat Yogyakarta diambil alih oleh
Belanda, ia memimpin muridnya
untuk melukis kejadian-kejadian dalam
perjuangan kemerdekaan. Dullah juga
merupakan salah satu pendiri Himpunan
Budaya Surakarta. Pada 1970-an, ia
membangun museum pribadi di Solo
yang masih berdiri hingga hari ini. Dullah
dikenal sebagai pelukis potret.
He is known as the palace painter
who compiled the palace’s art collection
into the book “Paintings of collection
of president Sukarno of the republic of
Indonesia” . Through meticulous practice
and the showcasing of the palace’s
collection, he was also known as
Indonesia’s first curator. In 1949 when
Yogyakarta was taken over the Dutch,
he led his students to directly paint events
as a means of documenting the fight for
independence. Dullah was also one of
the founders of the Himpunan Budaya
Surakarta (Culture Association in Solo).
In the 1970s, he built a private museum
in Solo that still stands today. He is
known as a portrait painter.
Fadjar Sidik
(Surabaya 1930–Yogyakarta 2004)
Fadjar Sidik sekolah di HIS-Jogjakarta,
kemudian pindah ke Surabaya. Pada
1962 ia menempuh Pendidikan di
UGM dan di ASRI (sekarang ISI). Ia
juga sempat belajar melukis di Sanggar
Pelukis Rakyat yang didirikan oleh
Hendra Gunawan. Selanjutnya ia dikenal
sebagai pengajar ISI (1961-1995) yang
banyak memberikan pengaruh kepada
anak didiknya. Belakangan, lukisannya
cenderung modernistik, mengarah pada
seni lukis abstrak.
Fadjar Sidik attended HIS-Jogjakarta
before moving to Surabaya. In 1962,
95
he continued his education at Gadjah
KA
B
I ORD
Mada University (UGM) and the Fine
YA TA P E R U PA
Arts Academy (ASRI, now ISI). He also
studied at the Sanggar Pelukis Rakyat
that was built by Hendra Gunawan.
While teaching at ISI (1961-1995), he was
known to be an influential teacher for
his students. As his career progressed,
his paintings became more modern and
leaned towards abstract art.
Holleman, Frida
(Leiden, Belanda 1908–Voorburg,
Belanda 1999)
Frida Holleman adalah pelukis
perempuan asal Belanda yang pernah
menetap di Bali. Ia belajar menggambar
di Royal Academy of Arts pada Henk
Meyer. Pada 1937 ia menetap di Bali dan
berteman dengan pasangan seniman
Wim dan Maria Hofker. Holleman
dikenal dengan lukisan cat airnya
yang mendokumentasikan kehidupan
keturunan Belanda yang dipenjara pada
masa pendudukan Jepang. Sketsa-sketsa
ini tersimpan di institusi seperti Museum
Swaensteyn Voorburg, Museum Tromp’s
Huys-Vlieland, Museon The Hague,
Rijksprentenkabinet Amsterdam,
Museum Scheveningen.
96
Frida Holleman was a female Dutch
SENANDUNG IBU PERTIWI
painter who lived in Bali. She learned
to draw from Henk Meyer at the
Royal Academy of Arts. In 1937, she
moved to Bali and became friends
with Wim and Maria Hofker, an
artist couple. Holleman was known
for her watercolor paintings that
documented life as a Dutch person in
jail during the Japanese occupation.
These sketches are kept in institutions
such as the Swaesteyn Voorburg
Museum, the Tromp’s Huys-Vlieland
Museum, The Hague Museum,
Rijksprentenkabinet Amsterdam, and
the Scheveningen Museum.
Gambiranom Suhardi
(Klaten, 1928–Yogyakarta, 1984)
Menempuh pendidikan di Seni Lukis
ASRI pada 1950- 1955. Karyanya
cenderung lintas media: lukisan di
atas kanvas, berbagai proyek kesenian
seperti mural, diorama, dan monumen
2–30 AGUSTUS 2017
pada gedung pemerintahan,
perkantoran, hotel dan museum.
He attended the Fine Arts Academy
(ASRI) from 1950- 1955. He worked
with many mediums including canvas
paintings, murals, dioramas, and
monuments for government buildings,
offices, hotels, and museums.
Hendra Gunawan
(Bandung, 1918-Denpasar, 1983)
Hendra Gunawan belajar melukis
pemandangan pada Wahdi dan Affandi,
setelah sebelumnya berniat belajar
pada Abdullah Suriosubroto. Di
masa pendudukan Jepang ia pernah
bergabung dengan SIM (Seniman
Indonesia Muda) sebelum mendirikan
kelompok Pelukis Rakyat dengan
Affandi. Ia juga bergabung dengan
Pelukis Front bersama pelukis Barli,
Abedy, Sudjana Kerton dan Turkandi
melukiskan suasana perang. Setelah
secara aktif menggelar pameran
bersama Pelukis Rakyat, tahun 1949
Hendra menggelar pameran solo
yang dibuka oleh Presiden Sukarno. Ia
sempat berpameran tunggal di Jakarta
pada 1978 sebelum hidup di Bali sampai
ia wafat tahun 1983.
Hendra Gunawan learned landscape
painting from Wahdi and Affandi, after
originally wanting to study with Abdullah
Suriosubroto. During the Japanese
occupation, he joined SIM (Seniman
Muda Indonesia) before establishing
the Pelukis Rakyat group with Affandi.
He also joined the Pelukis Front with
painters such as Barli, Abedy, Sudjana
Kerton and Turkandi to document the
war. After actively exhibiting with Pelukis
Rakyat, in 1949 Hendra held his solo
exhibition that was opened by President
Sukarno. He held a solo exhibition in
Jakarta in 1978 before moving to Bali,
where he resided until his death in 1983.
Imandt, Wilhelmus Jean Frederic
(St Jansteen, Belanda, 1882–Den Haag,
Belanda, 1967)
Imandt mulai masuk dalam lingkaran
kesenian saat hijrah ke Amsterdam pada
1901 untuk memenuhi wajib militer.
Pada periode ini Amsterdam School
of Painting memiliki pengaruh yang
cukup besar. Tahun 1904 ia melanjutkan
pendidikan gambar di State College
of Education di The Hague. Tahun
1908 Imandt mulai perjalanannya
ke Indonesia dan bekerja sebagai
guru di Sulawesi. Tahun 1919 majalah
“the Reflector” mulai membahas
karya Imandt yang banyak merekam
keindahan Indonesia dan kemudian
juga masuk dalam pembahasan Mooi
Indie. Masa produktifnya adalah 1920-
an di mana ia mendapat pesanan dari
Duke of Meklenburg. Ia mengalami
kebangkrutan di masa pendudukan
Jepang namun sempat berpameran
tunggal di ruang Hoogovens, Ijmuden
pada 1954.
Imandt entered the world of art when
he moved to Amsterdam in 1901 to fulfill
his military service. During this period,
the Amsterdam School of Painting
made a big impact on him. In 1904, he
continued his art education at the State
College of Education in The Hague.
In 1908, Imandt began his journey to
Indonesia and worked as a teacher
in Sulawesi. In 1919, “The Reflector”
magazine discussed his work that
portrayed Indonesia’s natural beauty, a
trait of the Mooi Indie style. His most
productive years were the 1920s, when
he received commissions from the Duke
of Meklenburg. Despite undergoing
bankruptcy during the Japanese
occupation, he managed to exhibit at
Hoogovens, Ijmuden, in 1954.
Lee Man Fong
(Guangzhou, China, 1913–Jakarta, 1988)
Lee Man Fong mulai melukis di
Singapura setelah pindah dari Kanton,
Tiongkok ke Singapura bersama
keluarganya. Ia pindah ke Jakarta
saat berusia 19 tahun dan membuka
biro periklanan bekerja sebagai
seniman komersial. Fong pindah
ke Bali pada 1941 dan hidup di sana
sambil menggelar pameran di Jakarta.
Tahun 1947 ia memperoleh beasiswa
pemerintah Belanda untuk belajar
melukis dan tinggal di sana selama
12 tahun. Setelah mengisi waktunya
dengan beberapa perjalanan, ia menjadi
pelukis istana untuk Presiden Sukarno
pada 1961. Pada periode tersebut ia
menyusun buku koleksi lukisan-lukisan
Presiden Sukarno jilid ke-5.
Lee Man Fong started to paint in
Singapore, after his family moved from
Canton, China to Singapore. He moved
to Jakarta when he was 19 years old and
opened an advertising agency to work
as a commercial artist. Fong moved to
Bali in 1941 and stayed there for a while
to paint, as well as holding exhibitions
in Jakarta. In 1947, Fong was granted
a scholarship by the Dutch Governor-
General to pursue his painting studies
in the Netherlands, where he stayed for
the next twelve years. After traveling for
a brief while, he became a Presidential
97
Palace painter for President Sukarno
KA
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in 1961. It was during this time that he
YA TA P E R U PA
compiled the 5th volume edition of
President Sukarno’s art collection.
Kartono Yudhokusumo
(Lubuk Pakam, Sumatra Utara, 1924–
Bandung, 1957)
Berbeda dengan seniman di masanya
yang mempelajari seni secara
otodidak, Yudhokusumo mempelajari
seni lukis dari pelukis profesional
Belanda dan Jepang. Lukisannya yang
dekoratif cenderung berbeda dengan
generasinya. Meski banyak dihubungkan
dengan nama-nama besar sejarah seni
rupa Indonesia, Yudhokusumo tidak
pernah tertarik dengan isu sosial dan
memilih langgam dekoratif.
Distinct from his other autodidact
contemporaries, Yudhokusumo learned
to paint from Dutch and Japanese
professional painters. His paintings
are quite decorative and unique in
comparison with fellow painters from
his generation. Despite often being
associated with big artistic names in
Indonesia, Yudhokusumo was never
interested in social issues and kept to his
decorative style.
98
Kobot, I Gusti Ketut
SENANDUNG IBU PERTIWI
(Ubud, Bali, 1917–Ubud, Bali, 1999)
Sebagai anggota dari kelompok Pita
Maha, Kobot menggabungkan seni
tradisional dan seni modern dalam
karyanya terinspirasi dari seni rupa
pelukis barat seperti Walter Spies
dan Rudolf Bonnet, dan juga pakaian
tradisional Bali. Setelah menggelar
pamerannya di Puri Lukisan Museum
Ubud pada 1975, ia bergabung
dalam pameran kelompok bersama
pelukis muda dari Pangosekan di
Sydney. Kobot telah menerima dua
penghargaan dari Pemerintah: Wijaya
Kusuma Art Award dan Dharma
Kusuma Award.
As a member of Pita Maha, he combined
traditional and modern art through his
work, drawing inspiration from the rising
influence of western art from painters
such as Walter Spies and Rudolf Bonnet
and traditional Balinese customs. He
held his own exhibition in 1975 at the Puri
2–30 AGUSTUS 2017
Lukisan Museum Ubud in Bali and joined
a group exhibition in Sydney later that
year, along with some young painters
from Pangosekan. Kobot received two
government awards: the Wijaya Kusuma
art award and the Dharma Kusuma award.
Kosnan
Kosnan diperkirakan aktif di tahun 50-
60an. Kecenderungan karyanya kubistik,
gaya yang besar di lingkungan seni rupa
Bandung pada masa itu. Berdasarkan
tulisan yang terdapat di koleksi istana
besar kemungkinan praktik Kosnan
terjadi di Surabaya dan mulai mendapat
perhatian pencinta seni lokal. Hal ini
ditandai dengan diberikannya satu lukisan
Kosnan kepada Presiden Sukarno sebagai
hadiah oleh Gubernur Akademi Angkatan
laut Kol. Pel. RS Subijakto. Karya Kosnan
kini tergantung di Istana Bogor.
Kosnan was known to be active
between the 1950s and 1960s. His
works are cubist in style, which
portrays the cubist trend that was very
much popular within the art community
in Bandung at the time. Based on the
palace’s archives, it can be said that
Kosnan began his artistic practice in
Surabaya and gained fame from local
art enthusiasts there. This was marked
by the gift of one his paintings from
the Governor of the Naval Academy
Kol. Pel. RS Subijakto to President
Sukarno. This painting now resides in
the Bogor Palace.
Locatelli, Romualdo
(Bergamo, Italia, 1905–Filippina, 1943)
Locatelli lahir dari keluarga yang dekat
dengan dunia kesenian. Ayahnya adalah
seniman pembuat fresco dan di abad 18,
keluarga Locatelli memliki setidaknya
dua seniman: Komposer musik Pietro
Antonio Locatelli dan pelukis Andre
Locatelli. Romualdo Locatelli bersekolah
pada Academia Carrara di Bergamo
dan the Palazzo di Brera di Milan. Tahun
1926 mendapatkan the Prince Umberto
Award untuk karya lukisnya. Di awal
1930-an pindah ke Roma, kemudian ke
Bali dan mendirikan studio dan berkarya
di sana. Di masa pendudukan Jepang
Locatelli kembali berkelana ke berbagai
negara sebelum hilang di sebuah
perjalanan di Filipina.
Locatelli was born into a family that
was highly involved in the art word; his
father was a fresco painter, and in the
18th century, the Locatelli family had
at least two artists: music composer
Pietro Antonio Locatelli and painter
Andre Locatelli. Romualdo Locatelli was
educated at the Academia Carrara-
Bergamo and the Palazzo di Brera-
Milan. In 1926, he received the Prince
Umberto Award for his paintings. In
the early 1930s he moved to Rome,
before settling in Bali where he set up a
studio and worked. During the Japanese
occupation, Locatelli traveled to
multiple countries before disappearing
on a trip to the Philippines.
Meier, Theo
(Basel, Swiss 1908–Bern, Swiss 1982)
Theo menempuh pendidikan di
Kunstgewerbeschule (Akademi Seni
Decoratif) di Basel dan di akademi
seni di Berlin sebelum mulai kariernya
sebagai artis. Theo Meier mengagumi
pelukis-pelukis seperti Paul Gauguin
yang telah menginspirasikan cintanya
terhadap seni dan gaya hidup primitif.
Beliau pergi ke Tahiti pada 1930-an
sebelum menetapkan tinggal di Bali.
Bung Karno, sebagai sosok yang
mencintai seni, seringkali memesan
lukisan kepada Meier. Tahun 1955-1956
ia kembali ke Basel dan menggelar
pameran di sana. Dia pindah ke Thailand
pada 1961 sebelum meninggal pada
19 Juni 1982.
He attended the Kunstgewerbeschule
(Decorative Art Academy) in Basel
and the Art Academy in Berlin before
embarking on his artistic career. He had
admired artists such as Paul Gauguin,
from whom he discovered his love for
primitive simplicity. He traveled to Tahiti
in the 1930s, before settling down in Bali.
It was here that he witnessed and fell in
love with Pre-War Balinese Modernist art.
President Sukarno, a man of art, often
gave Meier commissions for his work.
Meier returned to Basel and Europe
in 1955 and 1956 to mount several
exhibitions. He moved to Thailand in 1961,
before he died on 19 June 1982.
Mulder, Ries
(IJsselstein, Belanda, 1909–IJsselstein,
Belanda, 1973)
Ries Mulder merupakan salah satu
pendiri pendidikan seni rupa ITB. Ia
di penjara pada masa pendudukan
Jepang tahun 1942. Ide Mulder
bersama rekannya Simon Admiraal
mengenai pendidikan kesenian yang
didiskusikannya saat di penjara tersebut,
menjadi kenyataan pada 1947, saat
Belanda mendirikan Balai Pendidikan
Universiter Guru Gambar (Universitaire
Leergang voor de Opleiding van
Tekenleraren). Balai pendidikan
ini terafilasi dengan TH (sekarang
dikenal sebagai ITB). Selanjutnya Ries
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Mulder menjadi pengajar yang sangat
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berpengaruh dalam langgam seni rupa
YA TA P E R U PA
abstrak analitis, kekhasan pendidikan
Seni Rupa ITB yang jejaknya masih dapat
ditemukan hingga hari ini.
Ries Mulder is one of the instigators
for the fine arts education at the
Technology Institute of Bandung (ITB).
He was arrested during the Japanese
occupation in 1942 and whilst in jail,
he discussed ideas about establishing
an arts education with his partner
Simon Admiraal. This later became a
reality in 1947 when the Dutch opened
the Universitaire Leergang voor de
Opleiding van Tekenleraren. This hall of
education was affiliated with TH, which
is now known as ITB, Institut Teknologi
Bandung. Due to this, Ries Mulder
became a very influential professor
of analytical abstraction, a distinct
characteristic of an ITB Fine Arts
education that can still be found today.
Ngantung, Henk
(Manado, 1921–Jakarta, 1991)
Ia belajar melukis secara otodidak
melihat pada pelukis seperti Bossardt
dan Rudolf Wengkart. Ia berteman
dengan pelukis C.L. Dake, Luigi Nobili,
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dan Affandi yang tergabung dalam
SENANDUNG IBU PERTIWI
PERSAGI. Pada 1936, Henk menggelar
pameran tunggal di Manado dan
kemudian pindah ke Jakarta pada
tahun 1940-an. Di Jakarta, ia
menggelar banyak pameran tunggal
dan kelompok. Pada 1964, Henk
diangkat oleh Sukarno untuk menjadi
Gubernur Jakarta.
He first learned to paint as an
autodidact, mostly by looking up to
artists such as Bossardt and Austrian
painter Rudolf Wengkart, and
acquainted himself with painters such
as Dake, Luigi Nobili and Affandi, with
whom he joined in PERSAGI. Henk
held his first solo exhibition in Manado
in 1936 before moving to Jakarta
in the 1940s. From then on he held
numerous exhibitions alone and with
his colleagues. Furthermore, Henk
Ngantung became the Governor of
Jakarta in 1964 under Sukarno.
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Pirngadi, Mas
(Purbalingga, Banyumas, 1878–Jakarta,
1936)
Mas Pirngadi berasal dari keluarga
terpandang di Banyumas. Ia mempelajari
seni dari Frederic Jacobus Van
Rossum Du Chatel, seorang pelukis
Belanda yang hidup di Jawa. Dengan
kemahirannya ia bekerja untuk
Bataviaasch Genootschap dan juga
dinas arkeologi. Selanjutnya ia ditunjuk
untuk bekerja sama dengan J.E Jasper
untuk membuat ilustrasi berbagai seni
kerajinan Indonesia dan menghasilkan
lima jilid buku kerajinan Indonesia (1912–
1930). Dalam sejarah seni rupa Indonesia
ia dikenal dengan lukisan lansekap yang
kemudian dikategorisasikan sebagai
lukisan Mooi Indie.
Mas Pirngadi came from a respected
family in Banyumas. He studied art
with Frederic Jacobus Van Rossum
Du Chatel, a Dutch painter who lived
in Java. With his expertise, he worked
for the Bataviaasch Genootschap and
also for its archaeology department.
Consecutively, he was appointed
to work with J.E. Jasper to make
illustrations of numerous Indonesian
handicrafts, which were then compiled
into five book volumes (1912–1930).
Within Indonesian art history, he
is known for his landscape paintings
that are categorized to be inherently
Mooi Indie.
Pirous, Abdul Djalil
(Meulaboh, Aceh Barat, 1932)
A.D Pirous adalah seniman dan guru
besar di Fakultas Seni Rupa dan Desain
ITB. Menempuh Pendidikan formal Seni
Rupa di ITB hingga 1964, ia melanjutkan
pendidikan ke Rochester University.
Dengan pendidikan tersebut ia menjadi
perintis pendidikan desain grafis di ITB.
Pada 1966, ia berkolaborasi dengan
sebelas seniman untuk menggelar
pameran di Jakarta, dan terus
menggelar pameran di Hanoi dan Rio
de Janiero (1969). Pada pertengahan
1970an ia mendirikan biro desain
Decenta yang memadukan paradigma
senirupa dengan desain. Ciri khas
lukisannya menggabungkan kaligrafi dan
lukisan abstrak.
A.D. Pirous was an artist and a professor
for the Art and Design Faculty at the
Institute of Technology, Bandung (ITB).
Having completed his education in
Fine Arts in ITB in 1964, he continued
his studies at the Rochester University,
US, later becoming a graphic design
pioneer at ITB. In 1966, he collaborated
with eleven artists for an exhibition in
Jakarta, later continuing in Hanoi and
Rio de Janeiro in 1969. In the mid-1970s,
Pirous founded a design agency called
Decenta, which combined the world of
art with design. His artistic characteristic
usually combines calligraphy and abstract
writing.
Poleng, Ida Bagus Made
(Ubud, 1915-Ubud, 1999)
Kekhasan karya Poleng datang dari
tema sosial dan penggambaran
keseharian dalam warna gelap dan
dengan karakterisik yang kuat
dalam penggambaran anatomi. Ia
dikenal sebagai seniman eksentrik,
determinatif dan memiliki penghargaan
yang tinggi terhadap karyanya.
Many of Ida Bagus Made’s paintings are
socially themed, capturing everyday life
in dark colors and strong anatomical
details. He had a strong character
and was known for his eccentricity,
determination and a strong sense of
dignity for his work.
Sadali, Ahmad
(Garut, 1924–Bandung, 1987)
Belajar di Institut Teknologi Bandung
dan menjadi dosen pada tahun 1953.
Ia meneruskan pendidikannya di Iowa
State University, Amerika (1956),
dan University of Columbia, Amerika
(1957) dan juga menjadi anggota
Art Student League (Liga Mahasiswa
Seni) di New York. Ia menjadi Dekan
Fakultas Seni Rupa dan Desain Institut
Teknologi Bandung, dan Ketua Paviliun
Indonesia di World Expo pada tahun
1970 di Osaka, Jepang. Pada 1972
Sadali mendapat penghargaan dari
pemerintah Indonesia, dan lukisannya
memenangi hadiah utama Pameran
Besar Seni Lukis Indonesia (Biennale
Jakarta) pada 1974 dan 1978.
Sadali studied painting at the Institute
of Technology Bandung (ITB) and
became a professor at the university
in 1953. He then studied at Iowa State
University in 1956 and the University
of Columbia (USA) in 1957, as well
as joining the Art Student League in
New York. He became Head of the Art
Faculty and a tutor at the Institute of
Technology Bandung, as well as for
the Indonesian Pavilion at the 1970
Expo in Osaka, Japan. Sadali received
an art award from the Indonesian
government in 1972 along with two
Best Painting prizes at the 1974 and
1978 Biennales.
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Saleh Syarif Bustaman, Raden,
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(Terboyo, Semarang, 1811–Bogor, 1880)
YA TA P E R U PA
Lahir dari keluarga berpengaruh,
Saleh pindah ke Eropa untuk belajar
melukis dari Cornelius Kruseman dan
Andreas Schelfhout. Dari Kruseman,
ia mempelajari keahliannya sebagai
seniman potret dan dari Schelfhout-
lah ia mempelajari keterampilan
menjadi seniman lukis pemandangan.
Setelah tinggal di Eropa selama
20 tahun, ia kembali ke Indonesia
pada tahun 1951 dan menikah
dengan keluarga berpengaruh dari
Kesultanan Yogyakarta. Ia meneruskan
pekerjaannya melukis, memproduksi
potret aristokrat Jawa dan lukisan
pemandangan. Setelah kematiannya
pada tahun 1880, karya agungnya
dipertunjukan di pameran dunia di
Amsterdam pada 1883, dengan paviliun
spesial yang didedikasi untuk lukisannya.
Born from an influential family, Saleh
moved to Europe to study painting
under the guidance of Cornelius
Kruseman and Andreas Schelfhout. With
Kruseman, he developed his skillfulness
in portrait painting and perfected
landscape painting with Schelfhout.
Raden Saleh returned to Indonesia
102
in 1951 after living in Europe for 20
SENANDUNG IBU PERTIWI
years and married into a very powerful
family within the Yogyakarta Sultanate.
He continued painting, producing
portraits of Javanese aristocrats, and
landscapes. After his death in 1880,
his masterpieces were exhibited in the
World Fair in Amsterdam in 1883, with a
special pavilion dedicated to his work.
Soedibio
(Madiun, 1912–Solo, 1981)
Pelukis ini membawa tema mistik
dan surealistik ke dalam karya-karya
lukisnya khususnya pada 1950-
an. Pengkaryaannya yang khas
memberikan kontribusi penting
terhadap perkembangan seni dekoratif
di Yogyakarta. la pernah bergabung
dengan PERSAGI, dan ikut mendirikan
SIM di Madiun pada 1946 bersama
S. Sudjojono, Trisno Soemardjo,
Sunisyo dan D. Suradji. Ia bergabung
dengan Sanggar Puring Surabaya
2–30 AGUSTUS 2017
(1967), kemudian bergabung dengan
Himpunan Budaya Surabaya pada 1970.
This painter brought mystic and
surrealist themes, especially in
the 1950s, through his work that
contributed to the development of
Decorativism in Yogyakarta. He joined
PERSAGI and co-founded the Seniman
Indonesia Muda (SIM) in Madiun in
1946 along with S. Sudjojono, Trisno
Soemardjo, Sunisyo and D. Suradji. He
joined the Sanggar Puring in Surabaya in
1967 and then later joined the Himpunan
Budaya Surabaya (Culture Association in
Surabaya) in 1970.
Soejono Ds., S.
S. Soejono Ds. adalah salah satu dari
sejumlah pelukis yang tertarik pada
pemandangan alam, terutama melukis
jenis-jenis pepohonan dan bunga-bunga.
Diperkirakan aktif sekitar 1950-1970-an.
Umumnya lukisan pepohonan mengambil
tiga-perempat dari bidang kanvasnya.
Lukisan Flamboyan dan Jalan di Tepi
Sawah koleksi istana kepresidenan RI
merupakan sebagian dari karyanya yang
dapat ditemui di Istana Cipanas.
S. Soejono Ds. was a painter who was
interested in nature, who painted
greenery and flowers in particular. It
can be said that he was active from
the 1950s to the 1970s. Generally his
paintings of trees would take up three-
quarters of his canvas space. Flamboyan
and Jalan di Tepi Sawah are some of
his works in the Presidential Palace
collection, and can be found at the
Cipanas Palace.
Sudarso
(Purwokerto, Jawa Tengah, 1914–
Purwakarta, Jawa Barat, 2006)
Sudarso belajar secara otodidak,
mulai melukis pada 1937. Ia dibimbing
oleh Affandi, Hendra Gunawan dan
Barli sebelum menjadi dosen di
Akademi Seni Rupa Indonesia (ASRI),
Yogyakarta, pada 1951. Ia menggelar
pameran tunggal di Kedutaan Besar
Argentina (1960), Balai Budaya (1969),
dan beberapa pameran di luar negeri.
Sudarso first took up painting in 1937
and acquired his skills through self-
teaching. He was mentored by painters
Affandi, Hendra and Barli, before
eventually becoming a tutor at the
Fine Arts Academy Indonesia (Akademi
Seni Rupa Indonesia), Yogyakarta in
1951. He held a solo exhibition at the
Argentinian Embassy in 1960, and at
the Balai Budaya in 1969. Not only
did he exhibit locally, Sudarso also
managed to exhibit internationally.
Sumardi
(Solo 1917–1983)
Ia dikenal sebagai pelukis realis dengan
gaya romantis. Sumardi mendapat
pendidikan sekolah Belanda dan lulus
pada tahun 1937. Setelah itu, Sumardi
menjadi asisten pelukis dari Amerika
Serikat dan dapat belajar lebih jauh
mengenai anatomi manusia. Sumardi
adalah salah satu artis yang dipilih
oleh Bung Karno untuk memajang
karyanya di Istana Presiden dan Istana
Bogor. Selama hidupnya, Sumardi
dengan Himpunan Budaya Surakarta
mengikuti banyak pameran seni di Solo,
Semarang, Surabaya, dan Jakarta.
Sumardi is known as a realist painter
with a romantic touch. He received
Dutch education and completed
schooling in 1937, before becoming an
assistant to an American painter, with
whom he learned and perfected his
skills in human anatomy. Sumardi was
amongst the artists who were chosen
by Bung Karno to have his work framed
and hung at the state palaces in Jakarta
and Bogor. Throughout his life and with
the Himpunan Budaya Surakarta, he
participated in many exhibitions in Solo,
Semarang, Surabaya and Jakarta.
Spies, Walter
(Moskow, 1895–Lautan Hindia, 1942)
Spies merupakan seniman multitalenta:
penari, fotografer, pelukis, musisi,
musikolog dan ahli bahasa. Ia lahir
dari keluarga terpandang di Jerman,
bersekolah di Dresden. selama perang
dunia pertama pernah membantu
tentara Rusia yang terluka sehingga
kemudian di penjara pada 1915.
Tahun 1917 ia bekerja dengan Hedwig
Jaenischen Woermann dan mulai
mengenal lingkungan ekpresionis
Jerman.Tahun 1923 ia tiba di Indonesia
melalui Bandung, kemudian pindah
ke Yogyakarta, dan Bali tahun 1927. Ia
kemudian mendirikan kelompok Pita
Maha. Tahun 1942 penduduk Jerman
di Indonesia dipenjara termasuk Spies.
Ia diperkirakan wafat saat kapal yang
membawanya ke Ceylon dibom oleh
tentara Jepang.
Spies was a man of many talents:
he was a painter, a musician, a
musicologist, a linguistic scholar, a
dancer and a photographer. He was
born into a German imperial honorary
family. He attended school in Dresden.
During the First World War, him and
his family helped wounded Russian
103
soldiers; however, in 1915, he was
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arrested due to his German nationality.
YA TA P E R U PA
In 1917 he worked with sculptor Hedwig
Jaenischen Woermann, who introduced
him to the German Expressionist
scene. Spies first arrived in Bandung,
Indonesia in 1923, later moving to
Yogyakarta and to Bali in 1927. Along
with other Balinese artists, he co-
founded the Pita Maha foundation
in Ubud, and flourished as an artist.
However, during World War II, German
citizens in the Dutch East Indies were
arrested and in 1942 he and the other
prisoners were put on a transport ship
to Ceylon that was later bombed by the
Japanese soldier.
Tarmizi, Itji
(Tepi Selo Lintau, Sumatra Barat, 1939–
Jakarta, 2001)
Belajar melukis secara otodidak hingga
pada 1953, ia bergabung di Sanggar
Pelukis Rakyat bersama pelukis Hendra
Gunawan, Affandi, Soedjojono, Trubus,
Permadi Leosta, dan Tatang Ganarr. Itji
Tarmidzi merupakan anggota sanggar
Bumi Tarung-Jogjakarta. Sempat dikenal
pada tahun 1950-an saat karyanya
mulai dikoleksi oleh Presiden Sukarno.
104
Karyanya cenderung mengarah pada
SENANDUNG IBU PERTIWI
realisme sosial, merekam keseharian
kehidupan rakyat.
Learning how to paint as an autodidact
until 1953, he joined the Sanggar
Pelukis Rakyat with painters Hendra
Gunawan, Affandi, Soedjojono, Trubus,
Permadi Leosta, and Tatang Ganarr.
Itji Tarmizi became a Bumi Tarung
Yogyakarta studio member. He was well
known in the 1950s, especially since
President Sukarno started to collect
his work. His approach could be seen
as social realism, documenting the
everyday life of the public.
Thamdjidin, M.
M. Thamdjidin merupakan salah satu
seniman dalam koleksi lukisan presiden
Sukarno yang belum banyak tertulis
dalam sejarah seni rupa Indonesia.
Dalam pencatatan koleksi istana
ditemukan setidaknya empat karya
Thamdjidin yang semuanya merupakan
2–30 AGUSTUS 2017
lukisan figur perempuan dibuat pada
tahun 1960an.
M. Thamdjidin is one of the painters
in President Sukarno’s collection with
little documentation and records within
Indonesian art history. In the Palace’s
collection, there are at least four of his
paintings, all of which depict women and
were painted in the 1960s.
Tino Sidin
(Tebing Tinggi, Sumatra Utara, 1925–
Jakarta, 1995)
Belajar melukis secara otodidak
pada 1943, sebelum belajar pada S.
Soejono pada 1947. Pernah menempuh
pendidikan di ASRI 1961-1963. Ia
dikenal sebagai guru gambar di acara
televisi di era 1980-an. Pada masa
kependudukan Jepang pernah diangkat
sebagai pembuat poster propaganda
pada 1944. Pasca-kemerdekaan
bersama Daoed Joesoef dan Nasjah
Djamin mendirikan kelompok
Angkatan Seni Rupa Indonesia di
Medan. Selain berpameran kelompok,
pernah berpameran tunggal di
Malaysia dan Medan.
In 1943, he began to paint as an
autodidact before being formally taught
by S. Sudjojono in 1947. He attended
the Fine Arts Academy in Indonesia
(Akademi Seni Rupa Indonesia) in 1961-
1963, and was later known as a drawing
teacher on television in the 1980s.
Previously, in 1944, he was appointed
as a poster maker during the Japanese
Occupation and later established the
Angkatan Seni Rupa Indonesia in Medan
after the Independence with Daoed
Joesoef and Nasjah Djamin. Besides
exhibiting collaboratively, he has held
solo exhibitions in Malaysia and Medan.
Toetoer, S.
(Jakarta 1911 )
Sekolah dasar di Hollandsch-Inlandsche
School (HIS), dan awalnya bekerja
di bidang konstruksi. Karena merasa
pekerjaan yang cocok dengannya
adalah menggambar, pada 1929
dia pindah ke kantor berita Aneta
(Algemeen Nieuws en Telegraaf Agent
Schap), kemudian pindah ke kantor
reklame Linto pada 1938. Pada 1940, ia
membuka perusahaan reklame sendiri
yang diberi nama Rembrandt Studio
di Molenvliet West (sekarang Jl. Gajah
Mada). S. Toetoer adalah anggota
dari Persatuan Ahli Gambar Indonesia
(PERSAGI) dan lukisan-lukisannya
banyak menggambarkan kehidupan
sehari-hari.
He attended elementary school at the
Hollandsch- Inlandsche School (HIS)
and started his career as a construction
worker. Feeling that a career in drawing
was more suited for him, he joined
Aneta (Algemeen Nieuws en Telegraaf
Agent Schap), a news agency in 1929
and then moved to Linto, a billboard
company in 1938. In 1940, he opened
his own billboard company that he
named Rembrandt Studio, located
in Molenvliet West (now Gajah Mada
Street). S. Toetoer is a member of
one of Indonesia’s leading modern art
movements (PERSAGI) and is known for
his paintings that portray everyday life.
Trubus Soedarsono
(Yogyakarta 1926–1966)
Trubus mulai belajar melukis dengan
menjadi pembantu pelukis Sudarso,
kemudian belajar pada S. Sudjojono
dan Affandi di tahun 1942-1945. Pada
1947 Trubus keluar dari SIM dan ikut
sanggar Pelukis Rakyat. Ia sempat
dipenjara oleh Belanda akibat produksi
poster anti belanda pada 1948. Setelah
bebas, ia mengajar di ASRI (1950-1960),
berkunjung ke Cekoslowakia dalam misi
kebudayaan dan beberapa karyanya
dikoleksi oleh Presiden Sukarno.
Trubus first learned how to paint by
becoming an assistant to Sudarso, a
fellow Indonesian painter, and later
learning from S. Sudjojono and Affandi
in 1942 until 1945. In 1947, Trubus
quit the Seniman Indonesia Muda
association (SIM) and joined the Pelukis
Rakyat studio. He was later arrested in
1948 for his anti-Dutch posters. After
being liberated, he taught at ASRI
(1950-1960), visited Czechoslovakia
under a mission for culture, and
had many of his works collected by
President Sukarno.
Wakidi
(Palembang, Sumatra Selatan, 1889–
Padang, Sumatra Barat, 1979)
Tahun 1903 Wakidi mulai serius
belajar melukis lansekap saat sedang
bersekolah di Kweekschool, Bukittinggi.
Setelah lulus sekolah Wakidi pernah
belajar kepada pelukis Belanda Van Dijk
dan selanjutnya Wakidi dikenal sebagai
pelukis keindahan alam Indonesia,
Mooi Indie. Dari tahun 1940-an hingga
akhir 1950-an Wakidi mengajar seni
di Bukittinggi dan memilih hidup
di kampung halamannya berjauhan
dengan arus utama di Jawa. Wakidi
menerima Anugerah Seni Republik
Indonesia pada tahun 1983.
105
Wakidi began to take his painting
B I O DATA P E R U PA
studies seriously in 1903 while he
was a student at the Kweekschool,
Bukittinggi. After graduating, he was
mentored by the Dutch painter, Van
Dijk, and thus became known as a
pioneer for the rising art movement
called the Mooi Indies, a movement
that sought to capture Indonesia’s
natural beauty. From the 1940s
until the late 1950s, he taught art in
Bukittinggi and chose a rural lifestyle
instead of following the mainstream
Javanese way of life. Wakidi later
received an award for the Art of the
Republic of Indonesia in 1983.
Wardoyo
(Banyumas 1935–Yogyakarta 2003)
Pendidikan terakhirnya di Akademi
Seni Rupa Indonesia (ASRI) Yogyakarta
dan lulus pada 1961. Kemudian,
dia menjadi dosen di ASRI hingga
pensiun pada tahun 2000. Seniman ini
termasuk salah satu pendiri kelompok
seniman Sanggar Bambu (1959) di
Yogyakarta. Wardoyo dikenal sebagai
pelukis potret dengan bahan pastel.
He graduated from the Indonesian
Academy of Fine Arts (ASRI) in 1961,
106
and taught there until he retired in
SENANDUNG IBU PERTIWI
2000. He co-founded the ‘Sanggar
Bambu’ (Bamboo Studio) group, and is
best known for his pastel portraits.
Widja, Ida Bagus Made
(Batuan Gianyar, Bali, 1912–1992)
Ida Bagus Made Widja merupakan
salah satu anggota kelompok pelukis
Bali Pita Maha namun gayanya tidak
terlalu terpengaruh oleh organisasi
tersebut. Ia melukis dengan gaya
batuan yang cenderung menampilkan
banyak detail. Lukisan Widja kaya akan
perspektif, menggunakan stilasi yang
naif dan warna kuat di atas latar hitam.
Ia menerima berbagai penghargaan
seperti Dharma Kusuma Award,
Wijaya Kusuma Award (1982), dan
Anugerah Seni Pemerintah Indonesia
(1985). Pamerannya antara lain:
East-West Center (Honolulu Hawaii,
1998), Singapore Art Museum (1994),
Museum Nasional, Jakarta (Indonesia,
2–30 AGUSTUS 2017
1995), “ Images of Power “, (U.S.A.,
Australia, Bali, Japan, 1995-1996), dan
Indonesia-Japan Friendship Festival
(Morioka, Tokyo, 1997).
Ida Bagus Made Widja was a member
of the Balinese Pita Maha group;
however, unlike his peers, his style was
not influenced by modern ideas. He
painted with a very detailed Balinese
painting style, using perspective and
naive stylization, featuring strong
colors against black backgrounds. He
received numerous awards such as the
Dharma Kusuma Award, Wijaya Kusuma
Award (1982), and the Indonesian
Government’s Anugerah Seni award
(1985). He exhibited worldwide in
places such as the East-West Center
(Honolulu, Hawaii, 1998), Singapore
Art Museum (1994), Indonesian
National Museum (Jakarta, 1995),
“Images of Power” (U.S.A., Australia,
Bali, Japan, (1995-1996), and the
Indonesia-Japan Friendship Festival
(Morioka, Tokyo, 1997).
Wen Peor
(Padang, 1920–Hongkong 2007)
Wen Peor adalah pelukis poster dan
ilustrasi buku tahun 1940-1950an.
Ia adalah anggota kelompok Seni
Yin Hua yang didirikan tahun 1955.
Ia turut mengikuti perjalanan lima
bulan kelompok seni ini di Tiongkok
atas dukungan lembaga persahabatan
Indonesia- Tiongkok. Tahun 1957 turut
serta dalam pameran kelompok Yin
Hua di Hotel Des Indes. Wen Peor
ditenggarai pergi ke Hong Kong setelah
terjadinya tragedi 1965 hingga wafatnya
di tahun 2007.
Wen Peor was a poster maker and book
illustrator during the 1940s and 1950s.
He was a member of the Yin Hua Art
Association, which was established in
1955. He later joined the association’s
journey to China with the support
of the Indonesia-China Relations
institution for several months. In
1957, he participated in a Yin Hua
collaborative exhibition at the Hotel
Des Indes. Peor was then suspected for
fleeing to Hong Kong during the 1965
tragedy before his death in 2007.