As early as the turn of the century, the art of northern Bali had come
under European influence. But by 1930 Balinese painting was stagnating,
the art form no longer in demand by the Balinese themselves. The palaces
stopped commissioning artists, and the highly stylized, traditional hangings
were no longer painted. Bali was about to undergo a tumult of suffering
and chaos, but it was the period between the two great wars that brought
the heaviest changes and greatest surge of creativity.
Guidebooks have repeated the outdated fairy
tale that was started in the 1930s by the Dutch scholar Sutterheim and
the painter Rudolph Bonnet (1895-1978). The men published articles claiming
that modern Balinese art was born during the years 1933-39 when it first
made contact with Western painters. This premise was put forth to further
the career of Bonnet, and it reflected a strong colonial bias that colored
all Dutch scholarship in the first half of this century.
This legend is only half true. Bonnet, the
German artist Walter Spies (1895-1942), and others did demonstrate
to Balinese artists that painting could be free of set formulas. Rather
than paint to a single stylistic convention, the Europeans introduced by
way of example the concept of the third dimension, the imaginative use
of color, modern graphic elements, and a wider range of subject matter.
They also provided Balinese artists with new media and materials such as
Chinese ink, bristle brushes, watercolors and tempera, steel pens, and
European paper.
But the Balinese were not romantics given
to passionate improvisation, expressiveness, and creativity. It was as
much their exposure to modern stimuli, the economic inducement of the tourist
industry, and their growing knowledge of the world at large that encouraged
Balinese artists to stop painting according to rules and to start re-creating
their own visual experience. Tourists began to request that their canvases
be stretched and framed; this tended to limit the subject matter of a picture
to a single scene instead of depicting episodes taking place in a series.
The extraordinary creativity of the 1930s
pulled Balinese art out of its lethargy, but all the upheaval of WW II
and the postwar Indonesian struggle of independence from 1945 to 1950 put
a sudden stop to artistic activity. After the wars, Balinese painting entered
another low period, with much of the original creative impetus of the 1930s
dissipated. Subject matter was designed to appeal to tourists; artists
churned out paintings with idealized, unrealistic legong dancers,
women presenting offerings, men working the fields, and cockfights.
The Young Artists School
Suddenly, around 1956, a new style of modernism appeared. Under the
guidance and encouragement of Dutch painter Arie Smit, young boys around
Penestanan and Ubud began creating naive three-dimensional paintings based
on scenes from their daily life: a village street, a woman feeding hens,
people working the harvest or bartering at the market, ritual and dance
festivals, birds and animals, a cremation-themes that had never been attempted
before.
This movement became known as the Young Artists
School, and the exuberant paintings in bright, bold, hallucinogenic colors
found a ready market. Here was taking place a rekindling of artistic expression,
a new realism that soon developed into a sophisticated, distinctive, naturalistic
style.
A new generation of Balinese artists came
to the fore-I Sobrat, Made Griya, Gusti Njoman Lempad, Ida Bagus Made,
Ida Bagus Anom. Though they all had unique styles, these artists were traditionally
talented. That is, their genius only found expression working within the
general iconographic and formal framework of tradition. Their skills were
still aimed at making recognizable shapes and characters that could be
related to traditional stories or themes known to sell.
During this early period, pleasingly harmonized
mosaics of spindly black lines washed with foreboding gray and black tones
appeared. Canvases became crowded with dark fantastic forests; strange
ghostlike animals; tenuous, halftone figures of villagers almost hidden
amid shadowy jungle vegetation; or nightmarish visions of monsters with
snakes for genitals.
Towering over the group was Gusti Nyoman
Lempad (1862-1978) of Ubud, a master artisan, carver, architect, and
painter. He was both a strong advocate of conservative Balinese culture
and an avid crosscultural innovator. Choosing as his medium paper rather
than larger-sized cloth, Lempad was the first in the group to experiment
with the single-scene format, rather than multiple narrative frames. His
works illustrated episodes from Bali's rich folklore and mythology.
In 1936, together with Spies, Bonnet, and
the nobleman Tjokorde Sukawati, Lempad helped found an art association,
Pita Maha ("Great Vitality"). The group presented exhibitions
in Java and Europe and maintained a high level of quality among its members.
For the first time, art began to be bought by collectors and museums. At
its peak in the 1930s, Pita Maha counted more than 150 painters, sculptors,
and silversmiths among its ranks. By the time Lempad died at the bibical
old age of 116, the society had emancipated Balinese painting from its
comatose state.
Anyone who has an interest in Lempad should
see the brilliant film made of his life and the magnificent body of art
and architecture he left behind. Directed by John Darling and the late
Lorne Blair, it is available through Mystic Fire Video Inc., Box 1092,
Cooper Station, New York, NY 10276 (tel. 800-292-9001).
Art critics have mistakenly compared Balinese
painting with the eerie jungle scenes of Henri Rousseau, with the black-and-white
ornamental illustrations of Aubrey Beardsley, and even with the gruesome
spooky fantasies of the 15th-century Dutch painter Hieronymus Bosch. Although
Balinese painting shares some similarities with the themes and techniques
of these artists, it's almost certain that early Balinese artists never
saw their works.
Non-Balinese Artists
Beginning in the 1930s, an influx of foreign artists fell in love with
Bali and did some of their most significant work here. The famous Dutch
painter W.O.F. Nieuwenkamp traveled and painted on Bali long before
Spies, Bonnet, or anyone else. In fact, it was he who informed Bonnet about
Bali.
Willem G. Hofker and Bonnet became
masters at painting the female form. Bonnet worked mainly in crayon on
paper and his paintings today fetch very high prices. Theo Meier
(1908-1982), inspired by German expressionists, painted vibrant and colorful
religious ceremonies.
All the works of these Europeans today command
much higher prices than any Balinese artist of that era. Paintings by Spies,
who died at age 47 and painted few canvases, sell for as much as US$500,000.
Any of the others' work can easily fetch US$50,000.
The canvases of contemporary painters also
can fetch astronomical sums. Australian Donald Friend (1915-1990)
was a gifted writer and wrote several books which he himself illustrated.
The flamboyant hilltop home of Antonio Blanco (b. 1926) is a shrine
to erotic art and illustrated poetry. Han Snel (b. 1925), a Dutch
soldier who refused to fight the Indonesians in their war of independence,
owes much to his teacher, Theo Meier. Arie Smit (b. 1916) paints
mainly landscapes and temples in oil or acrylic. Smit has always been prolific
though now that he's nearing the age of 82 he is slowing down somewhat.
Javanese, Sumatran, and Western artists have
started moving into the area between Mas and Ubud, setting up shop and
selling paintings to tourists-competing with the Balinese on their own
turf. Each year new art styles come into vogue, then fade out. See under
"Arts and Crafts" in the Ubud section (Gianyar Regency chapter)
for more on individual painters working in the area.
The Academic Painters
Modern Balinese art is now expanding and developing in two different
directions: the art of artisans and the art of academicians. Academically
trained painters are concerned with a distinct personal style and a national
identity. With formal training in the European tradition from art academies
on Java and in Denpasar, they exhibit a diversity of styles. Only in subject
matter, not in ingenuity and skill, do they differ from their European
or American counterparts.
The captivating erotic sketches of Nyoman
Gunarsa have been very well received. Though he has had academic training
on Java, Gunarsa has also been heavily influenced by the traditional wayang
style. His museum and gallery are just before Klungkung (if traveling from
Gianyar), but he spends a lot of time on Java.
Wayan Lotra is self-taught, but paints
in an academic style and has been much influenced by Hofker and Bonnet.
Abdul Aziz, Lee Man Fung, and Basuki Abdullah employ Balinese
and Javanese motifs and diverse techniques (including painting on batik),
and have a tendency toward abstraction.
A growing number of Balinese artists, particularly
those affiliated with government schools like STSI, are breaking away from
modern traditional (kreasi baru) and are producing advanced and
sophisticated experimental art. With the strong support of an emerging
Balinese urban middle class, they have created a distinct local version
of an international, cosmopolitan artistic culture that is only partly
Balinese. Young artists to keep your eye on, all of whom show a strong
and unique creative vision, are Made Sumadiyasa, Ngakan Rai Lanus, Ketut
Budiana, Nyoman Cakra, and Ketut Soki.
The Non-Academic Painters
Non-academicians have learned their trade by serving as apprentices
under established masters. These artists, though not formally trained,
often display extraordinary technical skill. Their work is eclectic and
can't be easily classified, but most still paint in the traditional style
for the tourist market.
You need at least a rudimentary knowledge
of Balinese literature to appreciate them. Subject matter includes detailed
scenes from Buddhist mythology, bird-and-banana leaf panels (the current
rage), and vivid depictions of the natural world. The art comes straight
from the heart.
Among the most eminent are I Made Nyana,
Bendi, and Budi, whose paintings cost up to US$1000. These painters
work in the Batuan-style-naturalistic, heavily shadowed figures, and miniatures
of paper with little leftover space. Another extremely successful artist
is I Nyoman Meja, whose studio is in Taman near the Nomad Restaurant
(if coming from Peliatan, turn right). He asks US$2000 for one of his phantasmagoric,
exquisitely executed paintings.
Women Artists
The women of Bali are freeing themselves more and more from being mere
objects of paintings to being active painters themselves. There are women's
gamelan orchestras, women carvers, and a gallery in Ubud, Seniwati
Gallery (Jl. Sri Wedari 2 B, Banjar Taman, tel. 0361-975485, fax 975453),
devoted solely to art by Balinese and Indonesian women and girls. The gallery
is open 1000-1300 and 1400-1700; closed Monday and Friday.
Dewa Biang Raka studied under Bonnet,
and was the only female artist among 10 pupils who used to go into the
rice fields with him to paint. Now she lives like like a hermit and paints
monochromatic works, yet the subtle colors grow on you. Raka doesn't sell
her works because she wants to know where they are and who buys them. Some
paintings you may buy but may never sell.
Motherhood is a favorite theme of Tjok.
Istri Mas Astiti, whose works often depict pregnant women with children.
In her paintings, Astiti also examines the roles of women in different
societies and relationships. Her moving work is reminiscent of the social
realism found in the art of modern China and Vietnam.
A well-established artist in the Batuan-style
is Gusti Ayu Natih Arimini, who paints lively pictures full of charming
details and enchanting stories. Sri Supriyatini has gained recognition
for her dark, gloomy paintings which have a rough, textured surface, almost
like a bas-relief.
Javanese-born Yannar Ernawati is known
for her expressive, surreal pictures and unusual colors. Ni Made Suciarmi
(b. 1932) is a master of traditional Kamasan-style paintings, adapted from
wayang kulit. Made started her career mixing paints for her uncle
during the renovation of the original Gerta Gosa masterpiece in Klungkung
in 1938. One of her high quality one- by one-and-a-half-meter paintings
costs around a million rupiah. Even her students charge this much!
Information
A visit to the following artists is recommended to familiarize the
visitor planning a purchase: Han Snel in Siti Bungalows (Ubud), Antonio
Blanco (Campuan), Ida Bagus Tilem (Mas). Ida Bagus Made (Tebesaya) is still
crazy, still the best of the old masters. He doesn't care about fame or
money so you won't find his paintings in galleries, only in museums. He
won't sell his work but if he likes you he may give it to you. Also visit
Nyoman Sumertha and Nyoman Ada in Peliatan, one km east of
Ubud.
Founded in 1979, the Taman Werdi Budaya
or Denpasar Art Center is on Jl. Nusa Indah in Abiankapas, on the road
to Sanur. It's a center for painting, mask, and woodcarving exhibits where
Balinese and Indonesian artists are featured. Each year from mid-June to
mid-July the Center also hosts a summer art festival with painting expositions.
An event worth attending is the Walter
Spies Festival put on by Yayasan Walter Spies each February at Denpasar
Art Center; get the foundation's newsletter by writing Stichting Walter
Spies, Steenstraat 1, 2312 BS Leiden, Netherlands.
For a thorough discussion of the traditional
Kamasan painting style, see "Kamasan and Vicinity" under "Vicinity
of Klungkung" in the Klungkung Regency chapter. The following books
are definitive references to Balinese painting: The Sukarno Collection
of Paintings (Jakarta, 1959), a catalog of great Indonesian paintings
in the collection of the late President Sukarno; Perceptions of Paradise:
Images of Bali in the Arts, published by the Neka Gallery (1993) with
text and photographs by Garrett Kam; Willem G. Hofker, Painter of Bali,
a helpful treatise; and Walter Spies and Balinese Art by Rhodius
and Darling (Amsterdam, 1980), an excellent introduction to the man and
his extraordinary life and work.
Indonesian Art by Joseph Fisher is
a catalog produced for the "Year of Indonesia" traveling exhibit
of 1991. It includes a section on Balinese painters. Balinese Painting
by A.A. Djelentik (Oxford University Press, 1986) is a tiny book that tries
to wrap up the whole subject. Good try. For more information about the
origin of Klungkung-style paintings, refer to Idanna Pucci's exhaustive
study of the Gerta Gosa paintings called The Epic of Life (Van der
March, 1985).
Mystic Fire Video (225 Lafayette St., Suite
1206, New York, NY 10012, tel. 212-941-0999) sells a 60-minute color video
called Lempad of Bali (1979) directed by Lorne Blair. This film
captures some of the strength and genius of this remarkable artist who
was known throughout Europe in the 1920s for his religious and erotic art.
Museums
You'll soon learn that many galleries call themselves museums but are
really display rooms selling paintings. The real museums are well known.
Preeminent among them is the Bali Museum in Denpasar (east side
of Puputan Square), which contains many masterpieces tracing the development
of Balinese painting. This venerable museum, the ultimate repository of
Balinese culture, also frequently exhibits contemporary artists.
To familiarize yourself with high-quality
historical works, visit the Puri Lukisan Museum in Ubud. Founded
in 1954 by Tjokorda Sukawati and Rudolph Bonnet, this "Palace of Art"
houses a permanent collection of many early treasures of modern Balinese
sculpture and painting-from impressionism to abstract expressionism. Displayed
in chronological order, the museum gives the viewer an idea of the stylistic
trends in Balinese art over the past 25 years. One wing is devoted to new
work, where it's possible to meet the artists.
Framing and Shipping
If you don't want the frame to the painting you're buying, you can
often buy it without the frame, but bear in mind that frames here are real
bargains compared to prices in the West. All Balinese frames are different;
sometimes they're plain with no carving, sometimes they have very ornate
carving. But for the most part, Balinese framing is heavily carved-not
the austere sort of thing that would go well in a minimalist New York apartment.
When visiting galleries, be aware that the
frame could add substantially to the price of your purchase. The most elaborate
ones cost around Rp15,000 per meter-works of art in themselves. For the
lower-cost paintings, you might find that the frame may cost you more than
the painting. The price of the frame also depends on the wood used and
who carved it.
The gallery will (or should) break down your
frame into four pieces, roll it up safely in cardboard, and package it
for carrying or shipping. Up to 10 paintings can be rolled into one mailing
tube without damage (frames should be packaged separately). Stationery
stores in Denpasar sell plastic or cardboard tubes. Some galleries will
even package and ship for you, either through an air-frieght company or
via surface post through the Indonesian post office (which takes a lot
longer but is safe and cheaper).
Gati is a first-class frame maker who works
off Jl. Raya Kuta. If you're coming from Ubud, take a left on the street
just before Neka Gallery in Padangtegal (one km east of Ubud's center).
Gati's house is on on the left. His asking price is Rp7500 per meter. For
more detailed information on shipping crafts, see "Information and
Services" in the Introduction.