For my research I have narrowed the scope to only Indonesian art specifically the life and artworks of these three talented artist; Affandi, Heri Dono and Seruni Bodjawati. These three artists came from different ages which are the old master; Affandi, contemporary artist; Heri Dono and young artist; Seruni Bodjawati.

2. INDONESIAN ARTIST
AFFANDI
HERI DONO
SERUNI BODJAWATI

3. PROFILE
AFFANDI
HERI DONO
SERUNI BODJAWATI
 Born : 1907 – May 23rd  born in Jakarta on July
1990
12, 1960.
 Born in Yogyakarta,
September 1st 1991
 Honorary Professor in
Painting by Ohio State
University
 Studied at the
Indonesian Art
Institute (Institut Seni
Indonesia)
in Yogyakarta,
 Bachelor's degree in
fine art from
Indonesian Arts
Institute of Yogyakarta
(2009-2013)
 Won the Price for the
Best Painting in 1981
 2012: - Inspirational
Woman to Other, La
Femme Awards 2012
by Leo Club Monas
Family (Lions Clubs
International).
 The title of Grand
Maestro in
Florence, Italy

4. ART STYLE AND ISM
AFFANDI
HERI DONO
SERUNI BODJAWATI
 Expressionist
 New-internationalism
 Folk-art
 Fascinated by the
Javanese wayang, or
shadow-play.
 ordinary man, wayang
kulit, becak driver and tau
tau sculptures of
the Toraja inSulawesi.
 Figure and folklore as
subject matter
 Figure, nature as the
subject matter
 installation artist
 Young artist

5. ARTWORKS
 Title : Perahu dan
Matahari (Badai Pasti
Berlalu)
 Date : 1971
 Media : Oil on Canvas
 Size : 92 x 137 cm
 Title : A Spaceman
 Date : 2008
 Media : Acrylic on
Canvas
 Size : 200 x 150 cm
 Title : Sejoli Mengukir
Dunia
 Date : 2012
 Media : Acrylic on
Canvas
 Size : 200 x 300 cm

6. DESCRIPTION
• cold colors were used
• Heri used the yellow
• a couple that wearing
as the background of
ochre as the
blue traditional
the painting, while the
background color .
wedding clothes of
warm colors were used • the formation of
Indonesia.
as the color for primary
character images, each • . In this painting there
images.
character has attributes
are a few architectural
• background he used the
of ‘wayang kulit’
monuments and local
wash effect
puppets.
products such as a
Hindu Temple, volcano,
trishaw and a clock
tower.
• uses bright colors
consist of warm and
cold color

7. INTERPRETATION
• painting can be
• be a representation of a • depicts the cultural
interpreted as the
tyrant.
heritage of Indonesia in
struggle men have to
• The logo symbolizes the
her art work.
face to wade through
' sheriff ' or
• the topeng of wayang
the ocean to reach a
enforcement
kulit as one of the
destination
• This character is a
supporting images as
• the struggles the men
representation of the
well as Java puppet
have to face were
people who should be
show, snake lady and
brought up as the waves
defended, but has been
masked man.
and storms; weather
used by leaders in their • symbolized the
respectively.
respective interests.
economy as the public
• The harshness of life is
transportation such as
symbolized by the bad
rickshaws, tuktuk and
weather; storms and
etc.
waves.

8. Title : Ayam Tarung
(Chicken Fighting)
 Date : 1979
 Media : Oil on Canvas
 91 x 136 cm
 Title : Gamelan of
Nommunication
 Date : 2006
 Media : Installation
 Size : Variable sizes
 Title : Tiga Jagoan
 Date : 2011
 Media : Acrylic on
Canvas
 Size : 200 x 145 cm

9. DESCRIPTION
•
•
shows two roosters fighting
fiercely.
The first rooster has
yellowish (white) to golden
fur while the other rooster
has a darker tone fur. The
chosen of color to depict the
two roosters somehow has a
connection with the truth
about life.
•
•
“Gamelan of
Nommunication”are various
machines installed by Heri
Dono in the year 2006.
“Gamelan of
Nommunication”are various
machines installed by Heri
Dono in the year 2006.
•
•
•
Her painting entitled Tiga
Jagoan which can be
translated as Three Aces.
Here all the portraitures
belong to some of the top
Indonesian contemporary
artist which is Bob Sick
Yudhita, Teddy D and Ugo
Untor.
images of lungs, liquor
bottles, funnels, tanks with
the shape of heart.
In addition there are 5
images of cone with the
color of red, yellow, blue and
green.

10. INTERPRETATION
• The roosters
• consistently displays a
• ‘Jagoan’ is an
symbolized the struggle
reflection in the form of
Indonesian word that
between evil and good.
animism and vitality
can be translated as ace
• The usage of local
• Truth and falsehood are
or victor.
subject to represent the
both reduced to the
• Each of the artists that
philosophy of good and
level of rumors and
Bodjawati painted was
evil unlike the cliché
relative meaning.
all renowned artist
use of ying and yang
• aims to capture the
globally.
• every human being has
machine as mystery,
to make a decision on
play, magic, and
what to choose between
metaphor.
good or evil.
• man inner self have to
fight between good or
evil.

11. VIEW FROM FOUR ASPECTS
ECONOMY
• POLITIC
• RELIGION
• SOCIAL
•

12. ECONOMY
• what is the resources of
living during that
decade which mostly
were involved fishing
and farming
• artwork represented an • The economy was
environmental policy
symbolized by the use
put forth by the
of public transportation
government of
such as rickshaws,
President Suharto that
tuktuk and etc.
ruled Indonesia from
• These vehicles are used
1967 to 1998
as a mode of transport
• the savior actually
• As a source of finance
oppressing the
and economics for the
commoners while
people of Indonesia.
trying to save them

13. SOCIAL
• the folk traditions that
became a popular
entertainment
especially in Java
• painted the character
wearing Balinese
traditional clothes
• linen shawl, Wastra
cloth, belts, kris,
Undeng, Umpal and
decorative ornament.
• opt to use elements
from folk tradition
known to Indonesian;
wayang plays, the life of
common man, a beca
rider, and tau tau
images.
• inspired by universally
famous cartoon heroes
such as Flash Gordon
painted a couple
dressed in Indonesian
traditional wedding
attire
• painted a few ‘wayang
kulit’ characters that
are synonymous with
the Indonesian.
•

14. POLITIC
• oppression and among
them are the disbanded
of LEKRA (Lembaga
Kebudayaan Rakyat)
• represented political
• political
representatives as
representatives as
puppets, clowns, angels,
puppets.
demons, monsters and • Marriage because of
kings.
monetary policy.
• character used are
Ramayana,
Mahabharata or from
the Serat Menak

15. RELIGION
• we can conclude that
every man’s life have
back and forth in it.
• There will always
tortuous journey that
should be encountered
for happiness in the
future.
• life philosophy of not
given up easily.
• based on the
phenomenon and
practice rituals seen in
primitive religions of
Java and Bali.
• displays a reflection in
the form of animism
and vitality.
animistic element
which was portrayed by
a picture of the temple
of Borobudur.
• ‘wayang kulit’ were
shown in the painting
as the continuity of the
nature and practice of
the Hinduism.
•

16. CONCLUSION
0 Difference ages yet almost identical idea/subject
which consist of nationalism, elements of community
life such as economics, folklore and political issues.
0 The three generations of artist consistent in using
figurative in their paintings.
0 Most of their artworks representing their country.