Basuki Abdullah Painting with "Brother and Sister "Strength of Mastery of Realist Technique

Basuki Abdullah Painting with "Brother and Sister" Strength of Mastery of Realist Technique

Basuki Abdullah's painting titled "Brother and Sister", 1978 This is one of his works that show the strength of mastery of realist techniques. With lighting from the side, figure and a younger sister who was pregnant in her arms rhythm of life drama. With a mastery of proportion and anatomy, this painter who describes their bodies in steady motion lonely journey. The atmosphere was, as they face the GCC clear but his eyes staring blankly. Moreover, their clothes are unpretentious and dark figure in a shroud sisters compassion. From these textual facts, Basuki Abdullah wanted to express empathy to compassion and humanity.

However, the spirit of human compassion in this painting remains in the frame romantisisme.Oleh therefore, more attendance figures sisters sebabagi world idealism intact or even sweet, rather than the sharpness of the painful reality of humanity. Thus the concept of aesthetic choices can be confirmed in all the works of others, Basuki Abdullah. Of the few mythological figures naked body, animal figures, portraits of famous people, or spread of scenery, although built with a dramatization, but all present as a beautiful ideal world full of color and light.

Associated with these aesthetic concepts, Basuki Abdullah, had sharp criticism from Sudjojono. Painting Basuki Abdullah said Mooi Indie filled with the spirit that only deal with beauty and beauty alone. Whereas in those days, the Indonesian nation is facing the occupation, thus living a very bitter reality. Both painters were actually does have a different aesthetic views, so that different ways of giving birth. In fact aesthetic Basuki Abdullah, who supported the ability of high academic techniques and equipment placed as a great painter. It proved a number of awards obtained, also the support from the grassroots to the elite in the palace, and also the survival of his works exist through various periods

Abas Alibasyah Painting with "garuda"has Made Renewal by Doing Abstractions at The Paintings.

Abas Alibasyah Painting with "garuda"has Made Renewal by Doing Abstractions at The Paintings.

Abas Alibasyah to know the 1960s including the painter who has made renewal by doing abstractions at the paintings. Perspective on the object so motivated by sociocultural changes that became a common in Indonesia. Moderinasasi is the soul of times that a new myth in late 1960 to early 1970, is no exception in habitat Yogyakarta art at that time still very dominant with various forms of populist aesthetic paradigm. Response to modernization in the arts, in addition to encouraging change in shape toward peringkasan, conceptualization, and abstractions, also shows the struggle to defend the values of the various Indonesian penetration of Western culture. Abas do those two things, Abas absorb the spirit of modernization that by applying the basic patterns in the abstract geometric objects. In addition, he kept trying to dig the visual vocabulary of the tradition in the objects of his paintings.

In a painting titled "Garuda" in 1969, the implementation of the basic patterns to abstract geometric shapes eagle is very dominant. Be unique because the deformation has been so far and eagle forms, so that's more important is the expression of the visual elements of the existing share. Red color with gradations of violet and orange-red Kea give strength as an expressive background. Form of the bird emerges through the construction debris field with yellow and green, tied with a coarse texture and scratches imaged primitive breath. This painting is also like the works of Abas in that period, influenced by the visual sources of various ethnic Statue Archipelago. Abas is the aesthetic attitude, is a concrete embodiment in the process of struggle to defend the values of wave exposure indegeneous in Western culture, wrapped in the euphoria that time modernism.

A.D Pirous Painting in Amparan Roof of Heaven and Earth

A.D Pirous Painting in Amparan Roof of Heaven and Earth

A.D. Pirous known for his works that having Islamic. Construction of expression in painting through the structure of the fields with background colors that emit a variety of imaginative characters. With the principle of preparation, the painter is very strong sensibility to the composition and the understanding that the various characters of color. A spiritual breath when it comes up in a bright color images, while others can be serene in a dim color, something can also appear in the wealth of vibrant color. Acehnese ethnic decorative touches, which includes ornament ornament or motif-Buraq, also provides an Islamic sociocultural breath in his paintings. As a key summit of spiritual breath, it is accentuated melafaskan Arabic calligraphy verses of the Holy Qur'an.

In the painting "Amparan open to the sky and Earth" (Surat al-Baqara: 22a), this 1990, Pirous also brings a touch of spirituality. Ultramarine blue background brings a depth image of an infinite cosmos. At the top, sticking out part of the pieces of ocher which imaged a mass of sky. Below, two white field with Qur'anic calligraphy erect a solid foundation for the image of the earth. Among the images of the heavens and the earth were of a similar white line dividing the light vertically through the depth of the cosmos. With a variety of characters that can be read through a textual phenomenon, hence a similar line of light, it can be interpreted as the divine light that connects the heavens and the earth. In other paintings, the artist often build a natural atmosphere to provide a strong background related to the verses of Koran in his paintings. Through fields of preparation, space, and particular colors, the mood in the paintings may reflect the dim twilight, clear morning, or night is serene. Thus we can say that Pirous also managed to develop a symbolic abstract paintings. All the exploitation of ideas, mediums, and those technical finally put Pirous not just as a painter calligraphy reliable, but further reinforces Islamic spiritual accomplishments as a painter

Raden Saleh Painting "Storm"are Dramatic, Emotional, Mysterious, and Imaginary.

Raden Saleh Painting "Storm"are Dramatic, Emotional, Mysterious, and Imaginary.

Raden Saleh painting titled "Storm" is a typical expression of homage to the work of Romatisme. In this genre of artists really wanted to express the turmoil of his soul that vacillate between the desire to live and declare the world (imagination) is ideal and the real world is complex and fragmented. Appreciation of the adventure, the artists tend to express things that are dramatic, emotional, mysterious, and imaginary. However romanticism artists often work based on actual fact.

In the painting "Storm", it can be seen now, Raden Saleh revealed a dramatic struggle of two vessels in the storm waves on the ocean. The atmosphere seemed more pressing by the darkness and thick clouds terkaman high waves that destroyed one boat. From the point of a ray of sun that bounced off the waves, more dramatic atmosphere pressure

Although located within the frame of Raden Saleh romanticism, but the themes of his paintings a rich variety, dramatic and has a high elan vital. The works of Raden Saleh is not limited to landscapes, but also the lives of people and animals who wrestled in the tragedy. For instance, the painting "Een Boschbrand" (Forest Fire), and "Overstrooming Een op Java" (Floods in Java), "Een Jagt op Java" (Hunting in Java) or the "Gevangenneming van Diponegoro" (Arrest of Diponegoro). Although not yet aware of Raden Saleh fought to create Indonesian painting, but the impetus of life revealed the themes are very inspiring for the whole community, especially the indigenous intelligentsia emerging nationalism.

Noto Soeroto in his writings "Bi het100" Geboortejaar van Raden Saleh (Warning to the 100th birthday of Raden Saleh), knew in 1913, revealed that in times of national resurgence, the Javanese are encouraged to mobilize its own merits. However, a bright spot in the field of culture (art) was not encountered. To that end, the success of Raden Saleh is expected to arouse people's attention on the national art of Java

The Begger separated from the bottom of empathy in community life

The Begger separated from the bottom of empathy in community life

Affandi's paintings featuring the figure of a beggar is a manifestation of the achievement of a strong personal style. Through ekpresionisme, he melts with the object-object together with the empathy to grow through the process of observation and deepening. Having empathy cook it into energy, it happens in the casting process like a burst of mountain paintings lavanya complete turmoil. In any expression, in addition to the lines of energy raises the overflow lukisanya also record the thrill in the world bathinnya appreciation. In this painting looks frail figure of the beggar who sat waiting for compensation from passersby. Depictions of the body stooped over tendrils flowing lines, emphasizing the suffering expression panhandlers. Dark brown color that builds bodies, as well as accentuating the color of greenish-yellow color as the background, increasingly gloomy atmosphere that is built up to sharpen the overall expression.
But there was gloom, vitality remains strong life can be read through the scratches that describes the motion of some other figures. In the configuration of these objects, dynamic composition. Dynamics were also enriched with spontaneous strokes and textural effects of the rough from plototan paint tubes that produce the power of expression.
Options figure of a beggar as the objects in the painting can not be separated from the bottom of empathy in community life. Fan Affandi was a mawkish, at once full of life adventurer vitalitas.Objek-trashy and common objects always mengguha empathy. Therefore, he is often referred to as a humanist in his art. In various statements and his paintings, he often menggungkapkan that the sun, hands and feet is the symbol of life. The sun is a manifestation of the spirit of life. Hand shows the attitude that hard work and to realize all his ideas. Untkapan feet is symbolic of the motivation to continue to move forward in life. Symbols is indeed the crystallization of life experiences and attitudes Affandi, and process art travel the hard and long. Through the figure of a beggar in this painting, the crystallization of hard life experience and empathy for the suffering that may be unreadable