Affandi (1907-1990)

Indonesia Maestro Painting

During his life, he has produced more than 2,000 works of painting. His works are exhibited to various countries in the world, whether in Asia, Europe, America and Australia are always fascinating world of art lovers. Painter who won the title of Doctor Honoris Causa from the University of Singapore in 1974 was the work of his paintings, more often spill liquids directly from the tube of paint was then brushed the paint with his fingers, play and process color to express what he saw and felt about something.

In terms of education, son's birth Cirebon Cirebon in 1907 which includes a formal education is quite high. For the generation born in 1907, HIS education, MULO, and later graduated from the AMS, including the education obtained only by a handful of children of the country. But the art of painting talent is very thick beat other disciplines in life, and indeed has made his name famous as a leader or leaders of other fields.

When the Republic was proclaimed in 1945, many artists took part. Train cars and walls inscribed with the other "Freedom or death!". The words were taken from the cover of Bung Karno's speech "The Birth of Pancasila ', June 1, 1945. At that moment, Affandi got the assignment to make posters. Poster idea from Bung Karno, pictures of people in chains but the chains had been broken. Which serve as a model painter Abdullah. So what words should be written on the poster? Incidentally appears Chairil poet. Chairil Soedjojono ask, then lightly Chairil way: "BUNG, BUNG GO!"

And be done with historic posters. A group of painters memperbanyaknya day and night and sent to the regions. Where Did Chairil picked those words? It turned out the words, usually spoken by the prostitutes in Jakarta that offers merchandise at that time.

Outstanding talent in painting himself never enorehkan interesting story of his life. One time, he never got a scholarship to study painting at Santiniketan, India, an academy founded by Rabindranath Tagore. When he had arrived in India, he was rejected on the grounds that he had not considered educational needs painting again. Finally, the cost of scholarships that have been received is used to hold exhibitions around the country India.

On his return from India, Europe, in the fifties, Affandi nominated by the Party to represent the people do not belong to a party in the Constituent Assembly elections. And elected him, as Frof. Ir. Poerbodiningrat etc. Saloekoe to represent the people do not belong to a party. In the constituent assembly, according to the Resobowo Basuki also a painter friend, usually he's just quiet Affandi, sometimes sleeping. But when the commission meetings, Affandi spoke. He entered humanitarian commission (maybe now HAM) led Wikana, Affandi also close friends since before the revolution.

Then what the topic is raised Affandi? "We're talking about the humanitarian, then how about Perikebinatangan?" Thus he began his oration. Of course, who heard all the laughing ger-Geran. Affandi no ordinary humanists. Painter who liked to wear gloves, also when called to the palace during the Suharto was still in power, intuition is very sharp. While living in the era of technology is often identified the modern era, he was still very close to the fauna, flora, and this universe. When Affandi question 'Perikebinatangan' in 1955, public awareness of the environment is still very low.

Affandi also includes the central leadership Lekra (Lembaga Kebudayaan Rakyat), the largest cultural organization that was dissolved by the Suharto regime. He's part of art Art Institute) with Resobowo Basuki, Henk Ngantung, and so on.

In the sixties, the U.S. anti-imperialist movement was intense enough mengagresi Vietnam. U.S. culture is also anti-called 'cultural imperialism'. American films, boycotted the country. At that time, Affandi got an invitation to exhibit at the USIS Jakarta. And Affandi was, exhibitions there.

When a group of painters gathered Lekra, there is a question. Why is the leadership Affandi Lekra kok exhibition at the aggressor's representative. Responding to this problem, there is nyeletuk: "Mr. Affandi was led Lekra, but he could not distinguish between Lekra with Lepra!" friend said calmly. Karuan just all laughed.

On his way to work, the degrees of Doctor Honoris Causa from the University of Singapore in 1974, is known as a painter who adopted or abstract expressionism. So that his paintings are often very difficult to understand by others, especially by someone who lay about the art world, if no explanation. But for lovers of painting it so that adds charm.

Affandi was just one great painters of Indonesia along with other painters such as Raden Saleh, Basuki Abdullah and others. But because many advantages and privileges of his works, his admirers to her the various titles and boasts among other nicknames such as the nickname Painters New Ekspressionis Indonesia even nicknamed Maestro. Is the International Herald Tribune newspaper that called him the painter of New Ekspressionis Indonesia, while in Florence, Italy he had been given the title of Grand Maestro.

Various awards and prizes like a flood the journey of life from the man who nearly all his life devoted to this art world. Among other things, in the year 1977 he received the Peace Prize of the International Dag Hammershjoeld. Even the Central Committee of the Diplomatic Academy of Peace PAX Mundi in Castelo San Marzano, Florence, Italy was picked to be members of the Academy of Human Rights of Man.

From within their own country, do not lose many awards she had received, among them, the award "Star Services" which was awarded the Government of the Republic of Indonesia in 1978. And since 1986 he was also appointed as a Member of the Board of Trustees ISI (Institut Seni Indonesia) in Jogjakarta. Even a poet Force for 45 Chairil ever presented a special poem for her, entitled To the painter Affandi.

To appreciate the great works, the various institutions or foundations are also trying to capture a memento of this great painter. In 1976, Prix International Dag Hammerskjoeld has published a keepsake book about the "Affandi". Thick book over 189 pages was published in 4 languages, namely English, Dutch, French, and Indonesia. Similarly, Doubleday Publishing Foundation, has published a book about Sumaatmadja Nugraha Affandi's works in 1975.

Similarly, in order to commemorate 70 years of Affandi in 1978, the Jakarta Arts Council also published a book "70 Years Affandi" arrangement Ajip Rosidi, Zaini, Sudarmadji. And in order to commemorate 80 years of Affandi in 1987, Yayasan Bina Lestari Budaya Jakarta, published a book about "Affandi". The book compiled by Raka Sumichan and Umar Kayam thickness over 222 pages was published in two languages ie English and Indonesian.

To close and introduce his works to art lovers, Affandi often held exhibitions in various places. In India, he has held exhibitions around to various cities. Similarly, in various countries of Europe, America and Australia. In Europe, he has held exhibitions among others in London, Amsterdam, Brussels, Paris and Rome. Similarly in countries such as the American continent in Brazil, Venice, San Paulo, and the United States. Such a case, too, who made his name known in different parts of the world.

Despite melanglangbuana to various countries, Affandi is known as a simple and rather modestly. Favorite painter who eat rice with grilled tempeh have an idol are fairly unusual. Other people when choosing puppets to idols, usually choosing a good, handsome, brave, wise, such as Arjuna, Gatutkaca, or Werkudara Bhima, Krishna.

However, Affandi choose which face Sokasrana ugly but very powerful. Puppet's character thinks is representative of much of his handsome face. Even so, the Ministry of Tourism Post and Telecommunication (Deparpostel) captured her face by issuing a new stamp series of art / artist Indonesia. According Helfy Dirix (Affandi's oldest grandson) images used for the stamp is a self portrait paintings of Affandi in 1974, when Affandi was so industrious and productive as well as painting in the museum at the edge of the residence time Gajahwong Yogyakarta.

Simplicity way of thinking looks at a time, Affandi was confused myself when Western critics ask concepts and theory of painting. By Western critics, Affandi's paintings are considered to give a new style of expressionism flow. But when it actually Affandi asked,''what it flow?''.

Even when his parents, Affandi blinded himself with the theories. In fact he was known as a painter who does not like to read. For him, the letters are small and large specter renik considered.

In fact, in everyday life, he often says that he is a painter buffalo, diakunya nickname because he feels as stupid painter. Perhaps because the buffalo is an animal that is considered dumb and stupid.
The maestro''attitude''who is not fond of theorizing and prefer to work in real earnest as evidenced by professing himself as a painter who not only seasonal exhibitions. Even against his chosen field, he was not overreacting.

For example Affandi answer each time was asked why he paints. With lightly, he replied,''I paint because I can not write, I'm not good at talking. The language I use is the language of painting.''For Affandi, painting is work. He paints like a man hungry. Until the elitist impression about as a painter, he just wants to be as''artist''.

He further argued that he did not have a personality big enough to be called an artist, and he does not put art on the family's interests. ''If my child sick, I was going to stop painting,''he said.

In terms of productivity, including the painter Affandi productive enough. According Affandi himself, he has painted more than 2000 pieces of paintings and about 300 fruit painting private collection is now stored in the Museum Affandi, Jogyakarta. Museum which was inaugurated by Fuad Hassan, Minister of Education and Culture as it was in its history has never been visited by former President Soeharto and former Prime Minister of Malaysia Dr. Mahathir Mohammad in June 1988 when both were still in power. The museum was founded in 1973 on the land that became his home.

Until his death in May 1990, he remained to cultivate the profession as a painter. Activities that have become part of her life. He was buried not far from the museum, which he founded it.

Currently, there are about 1,000 of the more paintings in the Museum Affandi, and 300 of them are works of Affandi. Affandi's paintings on display at the gallery is the work I have restropektif the historical value from the beginning of his career to finish, so not for sale. While II is the painting gallery friends Affandi both the living and the dead as Basuki Abdullah, Popo Iskandar, Hendra, Rusli, Fajar Sidik, and others. The third gallery contains paintings of Affandi's family.

In the third gallery which was completed in 1997, when it displayed the latest paintings of Kartika Affandi made in 1999. The painting was among other "what to do" (January 99), "What's Mine? Why does this to Happen" (February 99), "Unfair" (June 99), "Back In the Reality of Life, Everything I handed him" (July 99), and others. There are also paintings Maryati, Rukmini Joseph, and Juki Affandi

Karya Lukisan Affandi

Lukisan Affandi tergolong banyak jumlahnya, dari yang ada lukisan self portrait atu potret diri adalah lukisan yang paling banyak jenisnya dibanding lukisan Affandi yang lain. Bertikut adalah beberapa karya Pelukis Affandi



Selama hidupnya ribuan lukisan pernah dibuatnya. Di bawah ini ada beberapa Karya Seni Lukis Sang maestro Affandi yang saya posting disini untuk anda yang belum mengetahui karya sang maestro.

Profil affandi

BîoğräfĪ

Affandi dilahirkan di Cirebon pada tahun 1907, putra dari R. Koesoema, seorang mantri ukur di pabrik gula di Ciledug, Cirebon. Dari segi pendidikan, ia termasuk seorang yang memiliki pendidikan formal yang cukup tinggi. Bagi orang-orang segenerasinya, memperoleh pendidikan HIS, MULO, dan selanjutnya tamat dari AMS, termasuk pendidikan yang hanya diperoleh oleh segelintir anak negeri. Namun, bakat seni lukisnya yang sangat kental mengalahkan disiplin ilmu lain dalam kehidupannya, dan memang telah menjadikan namanya tenar sama dengan tokoh atau pemuka bidang lainnya.

Pada umur 26 tahun, pada tahun 1933, Affandi menikah dengan Maryati, gadis kelahiran Bogor. Affandi dan Maryati dikaruniai seorang putri yang nantinya akan mewarisi bakat ayahnya sebagai pelukis, yaitu Kartika Affandi.


Sebelum mulai melukis, Affandi pernah menjadi guru dan pernah juga bekerja sebagai tukang sobek karcis dan pembuat gambar reklame bioskop di salah satu gedung bioskop di Bandung. Pekerjaan ini tidak lama digeluti karena Affandi lebih tertarik pada bidang seni lukis. Sekitar tahun 30-an, Affandi bergabung dalam kelompok Lima Bandung, yaitu kelompok lima pelukis Bandung. Mereka itu adalah Hendra Gunawan, Barli, Sudarso, dan Wahdi serta Affandi yang dipercaya menjabat sebagai pimpinan kelompok. Kelompok ini memiliki andil yang cukup besar dalam perkembangan seni rupa di Indonesia. Kelompok ini berbeda dengan Persatuan Ahli Gambar Indonesia (Persagi) pada tahun 1938, melainkan sebuah kelompok belajar bersama dan kerja sama saling membantu sesama pelukis.

Pada tahun 1943, Affandi mengadakan pameran tunggal pertamanya di Gedung Poetera Djakarta yang saat itu sedang berlangsung pendudukan tentara Jepang di Indonesia. Empat Serangkai--yang terdiri dari Ir. Soekarno, Drs. Mohammad Hatta, Ki Hajar Dewantara, dan Kyai Haji Mas Mansyur]]--memimpin Seksi Kebudayaan Poetera (Poesat Tenaga Rakyat) untuk ikut ambil bagian. Dalam Seksi Kebudayaan Poetera ini Affandi bertindak sebagai tenaga pelaksana dan S. Soedjojono sebagai penanggung jawab, yang langsung mengadakan hubungan dengan Bung Karno.

Ketika republik ini diproklamasikan1945, banyak pelukis ambil bagian. Gerbong-gerbong kereta dan tembok-tembok ditulisi antara lain "Merdeka atau mati!". Kata-kata itu diambil dari penutup pidato Bung Karno, Lahirnya Pancasila, 1 Juni 1945. Saat itulah, Affandi mendapat tugas membuat poster. Poster itu idenya dari Bung Karno, gambar orang yang dirantai tapi rantai itu sudah putus. Yang dijadikan model adalah pelukis Dullah. Lalu kata-kata apa yang harus ditulis di poster itu? Kebetulan muncul penyair Chairil Anwar. Soedjojono menanyakan kepada Chairil, maka dengan enteng Chairil ngomong: "Bung, ayo Bung!" Dan selesailah poster bersejarah itu. Sekelompok pelukis siang-malam memperbanyaknya dan dikirim ke daerah-daerah. Dari manakah Chairil memungut kata-kata itu? Ternyata kata-kata itu biasa diucapkan pelacur-pelacur di Jakarta yang menawarkan dagangannya pada zaman itu.

Bakat melukis yang menonjol pada diri Affandi pernah menorehkan cerita menarik dalam kehidupannya. Suatu saat, dia pernah mendapat beasiswa untuk kuliah melukis di Santiniketan, India, suatu akademi yang didirikan oleh Rabindranath Tagore. Ketika telah tiba di India, dia ditolak dengan alasan bahwa dia dipandang sudah tidak memerlukan pendidikan melukis lagi. Akhirnya biaya beasiswa yang telah diterimanya digunakan untuk mengadakan pameran keliling negeri India.

Sepulang dari India, Eropa, pada tahun lima puluhan, Affandi dicalonkan oleh PKI untuk mewakili orang-orang tak berpartai dalam pemilihan Konstituante. Dan terpilihlah dia, seperti Prof. Ir. Saloekoe Poerbodiningrat dsb, untuk mewakili orang-orang tak berpartai. Dalam sidang konstituante, menurut Basuki Resobowo yang teman pelukis juga, biasanya katanya Affandi cuma diam, kadang-kadang tidur. Tapi ketika sidang komisi, Affandi angkat bicara. Dia masuk komisi Perikemanusiaan (mungkin sekarang HAM) yang dipimpin Wikana, teman dekat Affandi juga sejak sebelum revolusi.

Lalu apa topik yang diangkat Affandi? "Kita bicara tentang perikemanusiaan, lalu bagaimana tentang perikebinatangan?" demikianlah dia memulai orasinya. Tentu saja yang mendengar semua tertawa ger-geran. Affandi bukan orang humanis biasa. Pelukis yang suka pakai sarung, juga ketika dipanggil ke istana semasa Suharto masih berkuasa dulu, intuisinya sangat tajam. Meskipun hidup di zaman teknologi yang sering diidentikkan zaman modern itu, dia masih sangat dekat dengan fauna, flora dan alam semesta ini. Ketika Affandi mempersoalkan 'Perikebinatangan' tahun 1955, kesadaran masyarakat terhadap lingkungan hidup masih sangat rendah.

Affandi juga termasuk pimpinan pusat Lekra (Lembaga Kebudayaan Rakyat), organisasi kebudayaan terbesar yang dibubarkan oleh rezim Suharto. Dia bagian seni rupa Lembaga Seni Rupa) bersama Basuki Resobowo, Henk Ngantung, dan sebagainya.

Pada tahun enampuluhan, gerakan anti imperialis AS sedang mengagresi Vietnam cukup gencar. Juga anti kebudayaan AS yang disebut sebagai 'kebudayaan imperialis'. Film-film Amerika, diboikot di negeri ini. Waktu itu Affandi mendapat undangan untuk pameran di gedung USIS Jakarta. Dan Affandi pun, pameran di sana.

Ketika sekelompok pelukis Lekra berkumpul, ada yang mempersoalkan. Mengapa Affandi yang pimpinan Lekra kok pameran di tempat perwakilan agresor itu. Menanggapi persoalan ini, ada yang nyeletuk: "Pak Affandi memang pimpinan Lekra, tapi dia tak bisa membedakan antara Lekra dengan Lepra!" kata teman itu dengan kalem. Karuan saja semua tertawa.

Meski sudah melanglangbuana ke berbagai negara, Affandi dikenal sebagai sosok yang sederhana dan suka merendah. Pelukis yang kesukaannya makan nasi dengan tempe bakar ini mempunyai idola yang terbilang tak lazim. Orang-orang lain bila memilih wayang untuk idola, biasanya memilih yang bagus, ganteng, gagah, bijak, seperti; Arjuna, Gatutkaca, Bima atau Werkudara, Kresna.

Namun, Affandi memilih Sokasrana yang wajahnya jelek namun sangat sakti. Tokoh wayang itu menurutnya merupakan perwakilan dari dirinya yang jauh dari wajah yang tampan. Meskipun begitu, Departemen Pariwisata Pos dan Telekomunikasi (Deparpostel) mengabadikan wajahnya dengan menerbitkan prangko baru seri tokoh seni/artis Indonesia. Menurut Helfy Dirix (cucu tertua Affandi) gambar yang digunakan untuk perangko itu adalah lukisan self-portrait Affandi tahun 1974, saat Affandi masih begitu getol dan produktif melukis di museum sekaligus kediamannya di tepi Kali Gajahwong Yogyakarta