BANTUL EKSPO

Bantul Ekspo tahun ini dibuka pada tanggal 1 agustus 2008 bertempatkan di Pasar Seni Gabusan yang akan berlangsung hingga tanggal 11 Agustus 2008 mendatang. Tujuan dari bantul ekspo tersebut adalah untuk memamerkan karya seni dari masyarakat sekitar dan juga memperkenalkan karya-karyanya kepada masyarakat baik dari dalam maupun luar daerah serta luar negeri juga. Selain itu Pameran ini bisa menambah rasa kekreatifan para pengrajin untuk meningkatkan kualitas daripada karya-karya mereka. Pada pameran ini banyak sekali kerajinan yang ditampilkan dan juga tidak kalah menariknya dengan tanaman hias yang di pamerkan.

BANTUL, PASAR SENI GABUSAN

BANTUL TEMPAT KELAHIRANKU,NYAMAN NAN INDAH
AYO LESTARIKAN KEBUDAYAAN SERTA NILAI KESENIAN YANG ADA DIDALAMNYA

Bantul memiliki berbagai obyek wisata yang menarik baik wisata alam, obyek wisata buatan maupun petilasan bersejarah. Selain memiliki pemandangan alam yang menawan banyak obyek wisata yang memiliki nilai spiritual dan mitos bagi masyarakat Jawa. Wisata alam pantai selatan masih menjadi tujuan favorit wisatawan. Pemerintah Kabupaten Bantul berupaya mengembangkan sektor wisata. Dengan mengembangkan kawasan wisata baru seperti Pasar Seni Gabusan, mengembangkan wisata minat khusus dan membangun infrastruktur pendukung pariwisata.

Pasar Seni Gabusan Didirikan pada tahun 2004, Pasar Seni Gabusan merupakan pusat kerajinan yang produknya dari pengrajin masyarakat Bantul sendiri. Luas dari Pasar Seni Gabusan tersebut sekitar 4.5 hekta,Pasar Seni Gabusan mampu menampung kurang lebih 444 pengrajin yang terbagi dalam 16 los yang terdiri dari bangunan 2 lantai yang menjual berbagai benda kerajinan khas Bantul. Di tempat ini tersedia 176 sampai 528 kios. Jadi sangat mudah bagi pengunjung untuk menikmati dan memilih - milih berbagai kerajinan yang diminati. Selain itu pengunjung juga dapat berbelanja secara grosir ataupun mereka juga dapat berbisnis pula. Banyak sekali jenis kerajinan yang di pamerkan disini,seperti kerajinan kulit, kerajinan bambu, kerajinan tas tangan, kerajianan batik, kerajinan patung, lukis, dan masih banyak lagi yang semuanya itu bertaraf internasional.

Setibanya Anda di kawasan Pasar seni Gabusan ini, Anda akan dikejutkan oleh gerbang yang didesain sangat menarik yang dimaksudkan untuk menarik pada pengunjung untuk masuk dan menikmati berbagai kerajinan yang ada didalamnya. Di gerbang itu, tersedia resto yang akan memanjakan lidah, tempat penyebrangan dan ramp. Dipasar Seni Gabusan ini juga terdapat ruko sebagai pusat informasi sekaligus tempat pelayanan kebutuhan wisatawan. Yang memudahkan pengunjung untuk memilih barang yang diinginkan sesuai harga yang relatif mendukung.


Adapun fasilitas yang tersedia di Pasar Seni Gabusan di antaranya :
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- Kamar Mandi Umum

A.D. PIROUS (Born 1933)

A.D. Pirous recognized with its masterpieces which is have islami breath. Its expression inpainting pass area structure construction with colour background transmitting various principal imaginatives. Withcharacter of that compilation, this is artist very strong its to understanding and composition which in so many colour character. Spiritual breath at one time emerge in bold colour image, other moment can in schmalzy gloomy colour, atu also can emerge in properties of colour jarring. ethnical decorative Manner touch of Acheh, loading Buraq motif or ornaments, also give sosiocultural breath which is islami in its painting. As top lock that spiritual breath, is Arab calligraphy accentuation which is Holy sentence saying of Al Qur’An

In painting have “Roof to Sky and Earth Amparan” (QS. Al Baqarah: 22a), 1990 this, Pirous also attend spiritualitas touching. Blue background of ultramarine bring image about deepness of infinite cosmos. Above, raise of is part of ochre area cutting which is image a sky mass. Below/Under, two white area with Al Qur’An straightening calligraphy become sturdy foundation for the image of earth. Among image between that earth and sky a similar white line of light split vertical pass deepness of cosmos. With various character able to be read to pass the textual phenomenon, hence similar line of that light, can be interpreted as connective godlike light of earth and sky. In other painting, this artist often build natural atmosphere to give strong background related to Al Qur’An sentence in its painting. Pass compilation of area, room, and certain colours, atmosphere in painting can bounce dusk which is dark, clear morning, and or schmalzy night. Thereby can be said that by Pirous also succeed to develop art paint symbolic abstraction. All idea exploitation, medium, and the technical finally not just placing Pirous as reliable calligraphy artist, but rather far again assure its attainment as islami spiritual artist have

Roof to Sky and Earth Amparan / The Road The Sky The Bed The Earth of and of (QS. Al Baqarah:22) (1990)
Media Mix 100 x 150 cm,
Inv. 269/SL/A

ABAS ALIBASYAH (Born 1928)

Abas Alibasyah at soybean cake 1960’s including artist which have conducted renewal by doing abstractions at its painting. In perpective to such object pushed by change of sosiocultural which is symptom started in Indonesia. Modernism represent epoch soul becoming new myth by the end of 1960 until early 1970, do not aside from in Yogyakarta fine arts habitat which is on that moment still very dominant with various nationality estetik paradigm form. Response to modernization in fine arts, besides pushing summarizing to transformation, conseptualitation, and abstraction, also show broil process maintain values to Indonesian from various penetration culture of West. Abas do both the things that, Absorbent Abas of spirit modernize that by applying elementary pattern of geometric in object abstractions. Despitefully, he continue to try to dig visual exchequer of tradition in its painting object

In painting entitle “Eagle” 1969 this, applying of elementary pattern of geometric for the abstraction of form eagle very dominant. Become unique because deformation form eagle have in such a way far, more important so that expression shar existing visual unsure. Ruddle with violet to gradation and orange give strength as expressive background. Bird form emerge to pass area shiver construction with colour turn yellow and green, bound with harsh incision and tekstur which is primitive breath image. This painting also like Abas masterpiece in that period, which influenced by visual sources from various ethnical idol of Nusantara. Aesthetic Attitude of The Abas, representing concrete materialization in course of broil maintain indegeneous values in terpaan waving that prepacked Western civilization in modernisme euphoria a period

Eagle / The Eagle ( 1969)
Oilcolour above canvas / On canvas Oil, 100 x 66 cm,
Inv. 12/SL/A

ACHMAD SADALI (1924 - 1987)

Painting Achmad Sadali, “Mount Gold”, 1980 this represent one of the expression deputizing attainment of its value. As pure abstraction artist of Sadali is true have got out of natural forms representation. But that way, in visual Ianguage all attended by form is actor can be read with various interpretation level. In existing civilization usian, human being have been woke up by its subconscious by marking which universally can awaken certain spirit. Heavy colour, hole and dot, and also strokes at area can remind at mystery image, arcaic, and is transient. Triangle sign, pyramid construction give image about religisitas. Farther gold discharge and Al Qur’An calligraphy strokes can transmit islami spirituality. All the marking attend in Sadali painting, so that expression which emerge is contemplative crytilazations of religion values, mystery and is transient

Reading of that textual iconografic, have come up with image interprestation and meaning of form. But that way because Sadali always refrain from with explisit concept in creative process descripted, hence to dig symbolic meaning of its masterpieces require to be referred by its life view. As artist with carrying out of strong moslem, according to its confession of creativity contemplation in painting in line with carrying out at Ali Imron letter, 190 - 191 in Al Qur’An. He is awaked that in fact human being awarded by three potency, that is ability recitate, berfikir, and believe to go to “plenary and ideal human being” ( Ulul-Albab). According to artistic Sadali area is recitation area. Sophisticated more and more ability recitate human being, more and more sensitively of its mind eye. In painting “Mount Gold” this can be seen by how Sadali recitate, pouring sensitivity of its mind eye with visual element

Gunungan Gold / The Golden Mountain ( 1980)
Oilcolour, wood, canvas / Oil, wood, canvas, 80 x 80 cm,
Inv. 176/SL/A

AFFANDI (1907 - 1990)

Painting Affandi presenting this beggar buttonhole represent manifestation attainment of his strong personal style. Pass expresionism, he is melted with its objects together with empathy which grow to pass perception process and contemplation. After that empathy become ripe energy, hence happened by infusion process in painting like complete mount overflowing of its lava distortion. In every expression, besides its lines peep out energy which bubble up also record the carrying out of his spiritual world emotion. In this painting seen beggar renta body buttonhole which sit to await decentgiving from one who pass. depiction of old body pass line sucker emiting a stream of, emphasizing expression grief of that beggar. Black brown which build body buttonhole, and also colour accentuation turn yellow greenness as background, progressively sharpen dismal atmosphere which woke up in entirety expression.

But at the opposite of that dourness, strong life vitality remain to earn to be read to pass incision depicting motion some of other figure. In this object configuraton, dynamic composition. That dynamics [is] also enriched with off the cuff incision and harsh tekstural effect from paint tube plototan yielding strength [of] expression

Buttonhole beggar choice as object in painting not get out of its empathy at life of society under. Affandi is easy felt moved emotionally, at the same time life adventurer which is full (of) rongsok vitality. objects and ordinary people always its empathy. For the reason, he is often conceived of by a humanist in its paintings. In so many statement and his painting, he often says that sun, foot/feet and hand represent its life symbol. Sun represent manifestation from spirit of life. Hand show hard attitude in have masterpiece and realize all its idea. Foot/Feet represent symbolic manifestation from motivation to continue advancing stroke in experiencing life. That symbol (it) is true represent experience crytalization and Affandi attitude to life, and also its long and hard artistry journey process. Pass beggar buttonhole in this painting, hard life experience kristalisasi and empathy to that grief can be read

Beggar / The Begger ( 1974)
Oilcolour above canvas / On canvas Oil, 99 x 129 cm,
Inv. 678/SL/C

BASUKI ABDULLAH (1915 - 1993)

Painting Basuki Abdullah entitling “Sister/ brother”, 1978 this represent one of the his masterpiece which show strength domination of realist technique. With illumination from from other side, sister figure and brother which in carrying on the back felt as bringing life drama rhtym. With domination of anatomy and proportion, this artist depict their body motion which belt out quiet journey. That atmosphere, like their face expression of clear yeng but its eye stare at emptyly. More than anything else their simple clothes and dark chromatic, sister buttonhole have this brother to emotion shroud. From various this textual fact, Basuki Abdullah wish to lay open its empathy at affection and is human

But that way, human emotion spirit in this painting remain to in romantisism. At frame in consequence, sister figure have brother to more attend intact world idealism as or even beloved, than durability of hearting human reality. such aesthetic concept choice can be confirmed at all of other Basuki Abdullah masterpiece. From some mythology, naked body buttonhole, animal buttonhole, man of mark portraits, and or view carpet, although woke up with dramatitation but all attending as beautiful ideal world fully light and colour.

Relate to the estetic concept, Basuki Abdullah have got keen criticism from Sudjojono. Painting Basuki Abdullah told loaded hotly Mooi Indie which only dealing with beauty and just beauty is. Though during the period, sedanf Indonesian nation face colonization, so that its very is life reality. Both [of] that artist in fact (it) is true have different estetic view, so that bear the way of different expression. In fact of supported by Basuki Abdullah estetic is ability of high academic technique remain to placing him as big artist. That thing are proven various obtained appreciation, also support from society under until elite group in palace, as well as ability stay its masterpieces of exsist penetrate various a period

Sister and Brother( 1978)
Oilcolour above canvas / On canvas Oil, 65 x 79 cm,
Inv. 43/SL/A

FADJAR SIDIK (1930 - 2004)

In painting ” Dynamics Room”, 1969 this, Fadjar Sidik present rhtyms form of two visual element bunch dominantly black colour and colour turn yellow ochre. In between formation form there are red circle which give accentuation entire/all that ritme, so that arise climax incubating ease. If in this painting there are month;moon form and scythe, that thing at all non religion represent related to symbolic value of full moon and crescent. And so it is with parallelogram forms bunch and writhe black line sucker, non abstraction form snake and its den which have symbolic magical value. this Artist more emphasizing how in its canvas attend visual expression which make dynamics, stress, ritme, balance, or other characters. Expression in this painting represent one of the manifestasi attainment of pure abstraction which have passed long process in its creativity.

Attainment of Fadjar Sidik come up with this estetic form show its attitude as a modernist. That thing exactly backgrounded by its disappointment as a romantic which losing of world ideally, that is Bali object which have turned into artifisial. As a having elementary materials of modernist pass cultural environment of education and family, Fadjar remain to in advance pass natural forms abstraction process which taken a fancy to it. decision forcreate forms alone (he often mentioning it as expressive desain, without any forms represent in nature, representing attitude which is post from seeking and rebellion That rebellion can more seen with social meaning, because Fadjar by then struggle as a modernist in artistic environment of Yogyakarta paint which still strong develop nationality esteticparadigm. Social attitude that crystal in aesthetic concept, placing Fadjar Sidik as agent of change in modern paint art of Indonesia

Dynamics Room / The Space Dynamics ( 1969)
Oilcolour above canvas / On canvas Oil, 94 x 64 cm,
Inv. 383/SL/B

HANDRIO (Born 1926)

In painting “Composition” 1991 this Handrio attend area, line and colour, becoming construction having possibility interpret many. the visual Elements composition can diapresiasi as an musical rhtym. In it built, how formal lines braid become area with various form. How colour lay open its intensity so that dynamics effects. And or also, how area line and that colour transform to become room which by illusivedevelop;build complex visual dimension in painting. With that textual picture, next interpretation attend as this artist develop;build complex room illusion become like labyrinth. dark and bold Area braid form building heap and alley which is cubistic and is complicated. Until here, visual element construction become mirror which can reflect an energy image analyse and its actor intuition which have stayed in modern thinking nature.

In course of is his creatives, Natural Handrio taking long process to come to forms like. Since 1950’s, he slowly start to leave realism style and surrealism to elaborate semi style of abstraction to the last become pure abstraction in the year 1980’s. its abstractions creativity at process represent crytalization various experience from that moment real world reality strarting attend modernization symptom. Reality buttonhole besieging it represent change of sosiocultural with high acceleration. Therefore, artist wish to reflect cultural experience briefly and look for object, or even finally create new forms at all without having to any representing from nature. In early process Handrio making object in many pieces become geometric construction. Intensive progressively he dig and analyse that object, real progressively that its its construction from visual elements. the Attainment he finally come up with various composition attending pure image from is assorted of visual character. In the case of this is Handrio can be viewed aschange agent to modernism in Indonesian art paint. However is unique exactly from Yogyakarta citadel which is that moment dominant with nationality estetic paradigm

Composition / The Composition ( 1991)
Acrylic above canvas / On canvas Acrylic, 77 x 77 cm,
Inv. 84/SL/A

HANS HARTUNG (1904 - 1989)

In this lithografi masterpiece [of] poetic Represent Hartung feeling pass coal black drawing strokes with blurry and soft edges. In that lilting vertical lines incision, exactly purely can be felt by soft feeling impulse pass pencil incision and ink at paper. such Footstep record of course cannot come up that so pured, if artist wear sophisticated medium and complex, like oil paint or of a kind. Beside technical aspect which is have spiritual dimension to, of course there is concept at the opposite of Hartung masterpiece, so that strengthen expression in its entirety. After leaving expressionism expression, he later;then introgate in art paint abstraction. In terskhir masterpiece he see to hold tight French expression spirit, but remain to expand in puitik sensibilitas breath like Germany actor masterpiece

Art Hartung represent one of the modernism current side in fine arts giving road;street at release assess subjektif. In this current, can mark by big stream like abstracsionism and expressionism having various groups variant and unique of its artist. On the other side, even twentieth century which is also marked with existentialism philosophy appearance, progressively give room at individual freedom to dig subjective values in fine art aspect. In framework this is fair if various naïf form and expressive graffiti very trusted as emotional and pure impulse in recording human being spiritual world. In Hartung lithography masterpiece which in the form of vertical lines incision which forming poetic ritme, middle also attended by pure impulse of the spiritual world

Without Title / Untitled
Lithography / Lithography, 55,5 x 76 cm,
Inv. 89/SG/C

KARTONO YUDHOKUSUMO (1924 - 1957)

Kartono represent exponent for the genre of decorative painting in Indonesia. That growth started from its realism painting which use free colour. In masterpiece ” Painting in Garden”, 1952 this, seen how that is decorative pattern really is becoming of soul. All object in that view is depicted with detail of detail, both for in front and also in background which far. Various fair colour at object also more is expressing of artist intuition from at fact exist in nature. Something else as this painting genre style is in perpective usage of air (perspective aerial) conducive of firmament seen to to the and picture area become broaderly, so that more object can be portrayed.

In this painting expressed by artist romantism by conceiving ideal and intact world. Wearing kebaya women which is be loved and taking funs, becoming important shares among animal and tree in garden which is the full of colour. Interesting matter again that is, at next angle;corner seen a men paint woman model with clothes more modern among crowd large group of other woman in kebaya clothes. Besides that thing show social setting related to life style, also can explain romantisisme at its artist. In its subconscious a romantic always attend ideal world from contradiction or various fact which is in pieces. Big of possibility of central figure in its masterpieces is peeped out idea world manifestation. But that way in the much decoratives pattern genre, there is awareness that nature is human being and cosmos only representing dot of[is part of to him. Therefore, in this painting of ego of the artist which ideal so even also only put down in small shares, from the aspect of loaded painting with object and is rich of colour

Paint [in] Garden / Painting In The Park ( 1952)
Oilcolour above canvas / On canvas Oil, 90 x 55 cm,
Inv. 430/SL/B

NASHAR (1928 - 1994)

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Painting Nashar entitling “Contemplation Night” this represent expression feeling of its artist at perity of forms free from natural representasi or any object. Nashar attend that pure feeling pass line rhythm, forms, colour and or room. In its painting this, that rhythm transmit its feeling which emit a stream of quietly. However in it also there is energy wavying, pass functioning fair colour tekstur nuance vibration attend that abstraction forms

Nashar is an artist which intensively doseeking of human being object essensial, environmental and natural, but its how he lay open spirit totality. Pass forms which continue to be made moderate go to total abstraction, in fact represent expression expressing psychical effect from experience of everyday life. very bright colour of seing not lay open brightness, but narrating dramatic effect is its life.

To reach deepness of object essensial and perity of feeling in its painting, he formulate creativity struggle pass credo “Three Non”. First that is non concept. Its intention is, when strarting to paint he not yet had picture, concept, even style to wear. He is only reliying on at desire of soul and intuition to be. Both, that is non object. In this credo he believe that intensive atmosphere in painting will push to get an object or form alone in canvas. Third, the non technique. In painting he always not leave from technique pattern. Technique will correspond to image in have masterpiece. With kredo three non that expected to paint have to pass difficult struggle process, so that pure soul situation always awake

Contemplation Night / The Night Meditation ( 1978)
Oilcolour above canvas / On canvas Oil, 137 x 137 cm,
Inv. 464/SL/B

OESMAN EFFENDI (1919 - 1985)

At painting which is titled “Composition”, 1975 this, Oesman Effendi attend existence as a visual symptom of purification. although collective Subconscious we association can form that with forms exist in nature, but this artist is not at all mean represent form any. Biomorpic area which consist of yellow colour alcove and that ochre get an impression motion which floating. Impression move in it more ritmic, because in alcove there is rhythm accentuation mark with lines to have crook with strong colour. Even though, fair colour and rhythm not then attend hilarity, but woke up atmosphere exactly silence which floating. In this painting of Oesman Effendi expression which is also constituted by tasawuf spirituality submit stillness pass visual paradox. In rhythm move there is stillness, in brightness also woke up by silence. In this tataran, possible he wish to attend that forms as symbolic attainment of certain spiritual, but in Ianguage which is subtile

After year 1960, intensive Oesman Effendi progressively with this abstraction world, so that shake hand and object only remaining laid open to esensial pass visual rhyme. In that rhythm, he express mediative character, poetic, dramatic, and magical pass colour and line. This attainment started to pass artistry attitude struggle process which is soliter from its environments.

In the year 1950, although in Yogyakarta Oesman Effendi have had tendency at art paint abstraction, because forms in its painting have experienced of abstraction and moderation. He do experiment with line and colour, especially with water color media and pie. Clearness at that artist express personal independence [in order] not to drift at nationality aestetic paradigm current with political tying tend to left, as which is dominant in Yogyakarta during the period. To continue to to look for personal kemerdekan that’s he finally go out from SIM Yogyakarta gallery which is felt progressively tighten with its nationality ideology. Hereinafter he move to Jakarta continued abstractions forms explored together with Zaini artist, Nashar, Rusli And Wakijan. In the year 1957, when Oesman Effendi demonstrate its masterpieces which in the form of object from formation mark with lines and geometric area, Basuki Resobowo criticize him that beholder only grappled by formal visual elements construction. But exactly criticize that’s, affirming Oesman Effendi as unshakeable artist fight for abstraction art

Composition / The Composistion ( 1975)
Oilcolour above canvas / On canvas Oil, 61 x 91 cm,
Inv. 146/SL/A

OTTO DJAJA (1916 - 2002)

Painting masterpiece entitle ” Meeting”, 1947 this its contents can be interpreted with various interprestation. That thing is because by teztual its objects contain narrative potency which is interpretative multi. And woman men sit in front of bed. He is still dress complete with peci and coat, whereas its open woman kebaya, so that its bra seen. Gestur both of that man can sign containing communications of intimacy, can also conflict, at the same time humor. This Setting can happened in domesticity, in outdoors love relation, or even from visual indicator of flange nya can make a picture a bordil in year 1940’s. But more than that, painted with processing of naïf figures, fair colour and its linear line, can give keen life comment. Masterpiece Otto Djaja is true distinguish its character which naïf, always can catch soul life of society, and framed in humor colour which satiric.

Other theme which tilled by containing many insinuation about environmental hypocrisy of social. Theme that way can be seen by at its masterpiece about reception atmosphere, batik cloth market atmosphere, or also at scene practice mysticism. As pressure for the seeing of the satire and humor, this artist usually use Punokawan figure from puppets world and traditional legends. Although Otto Djaja lay open about dark side of human being relation, but because that theme processed with hilarious colours and humor, hence its painting always attend warm atmosphere

Meeting / The Meeting ( 1947)
Placard paint on paper / Oil paper on Palcard, 88 x 65 cm,
Inv. 476/SL/B

POPO ISKANDAR (1929 - 2000)

Painting Popo Iskandar ” Cat”, 1975 laying open one of the various character which have been made with animal object. With deformation reliing on transparent and off the cuff incision effect, that animal will newly awaken from sleep and wagg its body. With black colour of white belangbelang, this cat see as mysterious animal buttonhole

Popo Iskandar is known as very esensial artist. But that way, that tendency unlike more Rusli strength salamander mark with lines and colour. Popo still develop various other visual element and way of its processing. That thing can be seen for example at processing through textur, transparent technique effect or opaque in paint medium, and also processing of its objects composition and deformation. Despitefully, this artist also always do psychological dig to present object expression and esensi to be painted. Thereby that object character can be laid open characteriscally. In is serial of cat, he dig domestic animal esensial, humorous, respect even also can transmit the nature of is mysterious

In carrying out of its objects, Popo (it) is true succeed to present character which is esensial. Thereby can be seen by for example, he so expert presenting gallantry, manliness, and artistic values at fighting cock object and horse. In intensity of is carrying out of also can be seen how slim bamboo clump become poetic tunes in its canvas. From various is serial of that object, which is most of fenomenal and its its his become depictory identity style of Popo Iskandar is cat object. In Indonesian modern art paint art, Popo artist by all observer says as a success modernist put down principality perity of individual creativity in its masterpieces. Characteristic Esential from object in that imaginary room represent strong sign in its attainment

Cat / The Paint ( 1975)
Oilcolour above canvas / On canvas Oli, 120 x 145 cm,
Inv. 150/SG/A

RADEN SALEH (1807 - 1880)

Painting Raden Saleh entitling ” Storm” this represent typical expression of masterpiece which is Romatism. In this stream of actor in fact wish to lay open its soul distortion which unsolved between desire involve and world saying ( imagination ideal) and complicated real world and pieces. From adventure of carrying out of that, actor tend to to lay open dramatic things, emotional, mysterious, and imaginary. But that way all romantism actor frequently have masterpiece to pursuant to at actual fact

In painting ” Storm” this, can be seen how Raden Saleh lay open dramatic struggle two ship in awful storm flinging down on the high seas. more pressing Visible atmosphere by darkness of thick cloud and high waves lunge which break one of the ship. From the aspect of to the sunshine lights bounding to wave roll, more is giving ofdramatic atmosphere pressure.

Although Raden Saleh stay in romantisism frame, but its rich painting theme of variation, dramatic and have a high vital lan. Masterpiece Raden Saleh not only limited to natural view, but also human life and animal grappling together in tragedy. For example painting ” Een Boschbrand” (Forest Fire), and ” Een Overstrooming Java op” (Floods in Java), ” Een Jagt Java op” (Hunt in Java) or at ” Van Diponegoro Gevangenneming” (Diponegoro arrested). Although Raden Saleh not yet conscious struggle to create art paint Indonesia, but laid open life motivation is its themes very inspiratif for all society coat, more literate clan of aborigines which is awakening its nationalism

Noto Soeroto in its article ” Het100 Bi” Geboortejaar Van Raden Saleh (Commemoration to 100 year birth of Raden Saleh), soybean cake 1913, please lay open that in a period of national evocation, Javanese pushed to conscript its own ability. However, bold dot in the field of culture (kesenian) do not met many. For that, efficacy of Raden Saleh expected can awaken attention of Javanese at artistry of national

Storm / The Storm ( 1851)
Oilcolour above canvas / On canvas Oil, 97 x 74 cm,
Inv. 490/SL/B

RUSLI (Born 1916)

This painting represent that very famous Land;Ground Lot Bali view abstractions. However, as other Rusli painting, which more made account of is poetic atmosphere of the abstraction object pass its incisions that essensial. More than, Rusli also very is taking a fancy to colour, so that that object impress and structure born to pass colour intensity. In this painting Land;Ground Lot hill lapped over to pass nimble colour lines braid. For the presenting of sea, Rusli use five blue chromatic outline attraction around hill. By putting down ega above Land;Ground Lot hill, Rusli become perfection as essensialis which select its objects. In nimble ritme, its also always awake in tight composition

In the world of is modern, when actor face various phenomenon a world of complicated progressively and faster its change, hence he need to do intensification in its perception. For that in its broil with object, artist will select as well as maturing process (contemplations) at its objects. In course of painting Rusli in advance dig its object through perception and contemplation. Process to let ripen contemplation need compared to longer time laying open it, more than anything else with prima ala technique which once incise to become. poured object pass transparent lines and placed by at empty room, attending clearness Rusli of broil when catching object esension. In here all observer see it like process bear Haiku poem in canvas.

Its such tendency represent artistic phenomenon of lirical painting ( liver effusing) what seldom follow by other artist in Indonesia during the period, that is around year 1950’s. For that, time he is exhibition in Stedelijk Museum Amsterdam, in Kunst Zaal Plaats Den Haag, and Ismeo Roma, he get warm greeting from all West writer as master with perfect technique. Painting Rusli told as neoimpresionisme, semi of abstraction or sometime expresionistic

Land;Ground Lot / Land;Ground Lot ( 1977)
Oilcolour above canvas / On canvas Oil, 65 x 50 cm,
Inv. 499/SL/B

S. SUDJOJONO (1913 - 1986)

At painting ” In Front of Open Kelamboe” Sudjojono expression seen quiet but mysterious , hence in masterpiece “Tjap Go Meh”, 1940 this, he lay open its emotion frenziedly. In religious celebration carnival painting of The Chinese, besides attended by frenzied atmosphere emerge irony nuance. That irony can limited to carnival bubbling up various emotion absurdly, but farther can contain social Iameness comment. That thing remember social setting of year masterpiece making, at a period of depresion economic, pressure of colonial governmental which more and more to ossify at all nationalist, and euphoria before Japan arrival

At foreground, seen a woman in tow and dance a is masked, flanked by a ambtenar which is have necktie and a masked musician of crocodile. On the other side there is a cretin upstanding in empty sight, while in background wavy a period of which is have pageant and dance in gladness joy. although this small fairish Painting, but Sudjojono really have realized its his jiwo credo in painting. In “Tjap Go Meh” this seen spontaneity which bubble up highly. People deformation in arakan and his strong colours, supporting entire/all that absurd expression

Sudjojono in a period of Persagi and a period of Japan try to realize art paint new Indonesia, such as those which very strong voiced to pass article and his masterpiece. Spirit of that refused to artistic esthetics of Mooi Indie paint which only laying open the beauty and just exotism. With nationalism spirit, Sudjojono wish to bring art paint Indonesia awareness about social reality which faced by nation in colonization. Despitefully, he wish to bring new breath is semi expression of downright paint and empathy which in from life reality passly is. Both is problem of which is fought for is the, placing Sudjojono as esthetics rebel ” Mooi Indie” which have established in feudal colonial culture. Painting Sudjojono ” In Front Of Open Kelamboe” and ” Tjap Go Meh” this, representing implementation from pregnant esthetics struggle of contextualism etic moral and nationalism. With awareness capacities and fought for masterpieces, many observer placing Sudjojono as Mr. Art Paint Indonesia

Tjap Go Meh / Tjap Go Meh ( 1940)
Oilcolour above canvas / On canvas Oil, 73 x 51 cm,
Inv. 515/SL/B

SRIHADI SUDARSONO ( Lahir/Born 1937)

In this masterpiece of Srihadi Sudarsono Borobudur menhdadirkan in abstraksi pass his personal style which is expresionalistic liric. Temple Borobudur which attend as monumental form in black colour, felt mediative among green colour plain carpet and broadness of blue sky. attainment of abstractions pass strong incision at temple wall, and soft sweep earth and sky attend stillness spiritual typical spiritual, like other Srihadi painting. clearness of tired Colour that stillness atmosphere earn is also seen at its masterpieces in is serial of theme ” Horizon

Painting initially have geometric pattern to synthetic like at its it Ries Mulder pupil. In the year 1960, Srihadi start to go to experiments at abstraction form pass paper cutting patching and colour spontaneity. A period of this only passed by just, because in that forms later;then born figure laying open the nature of liris. In the year 1970’s Srihadi tend to impresionistic pass water color and expresionism pass oilcolour and often enter symbolic unsure in its painting

According to all observer, ability of[is carrying out of is symbolic of his experience from seen gallery at its painting. Its his adventure reach its top at horizon period and objects in blankness colour. That thing represent its its his abstractions at nature pass soft and wide colour sweep. All observer often connect Srihadi painting with painting field colour, that is one of the expressionism abstraction group manifestated in America. Despitefully there is also marking it as manifestation carrying him out of pass Budhisme zen philosophy

Trough Horizon period, Srihadi continue to conduct object explore which is united in wide of colour field. Various dancer figure, barong, as well as Temple Borobudur, like emerging from colour screen embosoming i]. Object become poetic buttonhole which gaze in macrocosm room. From textual evaluation, meaning, and also histories process invention [of] the style personal, painting ” Borobudur II” this can be considered to be masterpiece which is representative attend attainment of Srihadi aestetic

Borobudur II / Borobudur II ( 1982)
Oilcolour above canvas / On canvas Oil, 95 x 140 cm,
Inv. 174/SL/A

SUDJANA KERTON (1922 - 1994)

In painting entitle ” Dusk”, 1987, Sudjana Kerton attend people world under in an unique momen, that is duckman in between the lights. That world become uniquely, because its artist have other view angle;corner, either through visual and also in its empathy. Kerton always make ordinary people body motion in deformation expressing life burden, but at the same time drollery mengadung. Sundown dusk background and ducks teaming in diagonal formation, this masterpiece develop poetic atmosphere at the same time depress

This painting show attainment of last period, after he go home to Indonesia and live in Bandung. Previous Period is nearer expression with semi trend of west paint when he live in Europe and America. In that last period Kerton more laying open reality life of people. From various lifted theme and object, he is like not finished his bail the spirit of human pedicab worker, labour, farmer, society coat draught prostitute of a kind. But that way, not merely sullenness that laid open in its masterpieces, but upraised also humor values and unique life. That thing can be seen from body gestur-gestur, deformation, incision, and strong colours, and also express deepness

Way of such expression in fact have been done previously that is time live in America. Start that moment expand its life view about feeling of empathy to human being constituted about sincerity in catching life. Following tendency of expressionism abstraction expanding during the period, Kerton look for the way of expression form individually typical. He not look for anatomy form that human being, but trying to lay open experienced life psychology. Society jelata psychology and marjinal, finally at most menyentub and easy to move Sudjana Kerton estetik impulse. Its Masterpiece which entitle ” Dusk” this, representing one of psychology expression about sincerity in catching the the life

Dusk / The Dusk ( 1987)
Oilcolour above canvas / On canvas Oil, 125 x 148 cm,
Inv. 201/SL/A

SUROMO DS (1919 - 2003)

At graphical masterpiece which is titled ” Market”, 1957 this Suromo really is showing of technics ability of wood engraving coming near engraving. In perpective farther, illumination, and its forms detail have reached excellence, so that realistic graphical swan song felt life. In this masterpiece can be laid open by bustle at the same time market setting style and atmosphere in the year 1950’s. In that traditional market presented by merchant which still perform merchanidise in land;ground or with simple desk. In bustle also seen woman most still have kebaya cloth and buggy cabman in traditional Java clothes. Thereby, in this masterpiece, a woman wearing and frock have shoe, and also children which also wear frock become contrast at the same time as sign change of epoch

Suromo is the including artist which born and grow to pass ripening of Persagi idea to lay open social life reality by which is impresive. In this masterpiece of that idea manifestation footstep admit of to be felt. That thing seen from how he is reality menagkap life of people in market and laying open it pass game of white colours or light flaring up. Theme around everyday life and independence struggle (it) is true made many for graphical his masterpiece. Some able to be noted by ” Market”, ” Ambuscade Guerrilla”, and ” Encounter [of] Guerrilla”

In a period of/to about independence revolution, besides spirit in painting, Suromo also lay open its idea about credo painting inTribune Indonesia magazine, 1949. In painting according to him, important is artist liver content go out all. Exit by and way of insignificant whom. Artistic work non technique cleverness, is not skilled painting, but solid conscience because arrest;detaining many. But that way, that expresionism credo on the way time also follow to shift by and epoch strength of idea of big figure. In the year 1953 Sudjojono start idea suggesting return to realism, so that comprehended easy art of people. Uniquely Suromo having ability of this realist technique nor immediately tied with credo which have written of, but remain to in conscience follow [soul/ head]. Masterpiece Suromo hereinafter continue to make a move up at decorative and impressionism

Market / The Market ( 1957)
Printing ink on paper / Ink paper on Printing, 33 x 38 cm,
Inv. 28/SG/B

VICTOR VASARELY ( Lahir/Born 1908)

This lithography represent Vasarely masterpiece prototype which later;then round into art illusion optical forms or which is popular with the title Optical Art, and often shortened to become Opart. As a visual phenomenon early, masterpiece this type of distinguishing abstraction forms with elementary pattern of geometric and its formal. In course of hereinafter that forms progressively complex, but with tendency of regular scheme and measured. Thereby in the eyes of eye, that visual forms can stimulate retina causing illusion move and bedazzle the. The effect become to gain strength if its forms made with complementary colour.

In this masterpiece of Vasarely still in simple form composition expression. However, division of area infour, and forms rhythm which compiled in diagonal motion, representing elementary principles of art optical which have can be felt. If concentration view at formation form and that colour, will felt there is coherent motion rhythm which emit a stream of circle the than its four area. Masterpiece Opart which finally merebak and reach its top in New York in the year 1960-an that, it is true represent idea reflections all very modernist jell with science [soul/ head] and technology. Phenomenon that way represent growth one current side at century modernisme to 20 is, very concerned at seeking of objectives. That thing earn to be seen from abstractionism appearance, what consist of neoplastisisme, construcsivism, and suprematism. Pass simple Vasarely masterpiece, that is objectivity [soul/ head] reflection very strong can be felt

Without Title / Untitled
Lithography / Lithography, 59 x 47 cm,
Inv. 132/SG/C

WASSILY KANDINSKY ( 1866 - 1944)

In this serigrafi masterpiece of Kandinsky more tend to to practice its theory about composition, than improvisasi and impresi as source of creation of its masterpiece. In actor expression composition emiting a stream of to pass feeling formed consciously and in phases, although that process also have the character of irrationally. However in this masterpiece also can be seen by lines spontaneity appearance which born from impulse. Thereby, although is not dominant, in this masterpiece in fact also contain improvisasi unsure. Category of[is source of creation in composition, impresi and improvisasi it is true cannot tightly weared to classify a masterpiece. Many masterpiece which in many contents various category of source of creation such as those which have the Kandinsky dipilah-pilah. Even though one of that category can become pattern of source of most dominant creation.

In this masterpiece presented a composition which consist of formal forms and lines having the character of is off the cuff. Geometric parallelogram forms and trilateral become to melt in entirety ritme. Molten of this formal forms nya because of entry of biomorphic element in it and balance move by circle form and also line which is curves. Since still grapple together at De Blaue Reiter expresionist group, he have exponent symptom menunjukan with its objects function omission. At that shares show appearance of nature of is analytic. At others he is recognized to have intuition which bubble up at freshness of colour, ritme mark with lines and form. In this serigrai masterpiece entire/all line element, colour and form attend as musical ritme which can reflect intellectual strength and durability of Kandinsky intuition

Without Title / Untitled
Serigrafi / Seriegraphy, 50 x 65 cm,
Inv. 97/SG/C

WIDAYAT ( 1923 - 2002)

In painting entitle ” Forest” this, Widayat show tendency to decoratifve style which have reached style-nya personal powerfully. Personal style of That Widayat have style at its forms deformation which stem from artistic image of primitive. That forms gain strength to lay open expression because supported by visual elements his characters. In this painting, human being forms and portrayed animal with simple deformation reside in between tight room and in line tree forms squeezing and berjejalan. With heavy tekstur and colour, painting ” Forest” this lay open primitive image jelling

Among theme which painted many, ardour of Widayat at flora world and fauna have separate strength. Many connective observer of that theme imagination with Widayat memory during working as forest measurer in Sumatra. But more than that, he in fact can be seen by is giving its relation meanings with macrocosm world. This awareness also can be seen at painting ” Forest” the. In that painting, he attend relation various microcosm unsure, like human being, animal, and is close of trees which in harmonious atmosphere, but full of this mystery stores, also represent easting spiritual characteristic which remain to be the source of Indonesian modern artist spirit.

Enthusiasm Widayat at paint art start to be showed when becoming Division Eagle army, Sexy Lighting, in Palembang 1947 - 1949. By then he making many photo studio frieze and poster. When Widayat have to paint realism in the early study in ASRI, its painting not show strong realist technique, but exactly show the nature of line which level off doublely dimension. That thing in the reality represent tendency which finally become its mature style

In forming process, Widayat permeating many decorative style from Kartono Yudhokusumo and Jean Dubuffet which is ekspresionist with primitive character. He melt its exchequer in creativity bearing typical style. Widayat very with various personal style character. Its exploration start from rather realistic forms, moderation pass deformation and abstraction, come up with total abstraction. All that contain element which in character dekoratif. Nevertheless, strongest give his personal character identity is forms with primitive decorative elements and geometric deformation

Forest / The Forest ( 1973)
Oilcolour above canvas / On canvas Oil, 100 x 70 cm,

Inv. 563/SL/B

ZAINI ( 1924 - 1977)

In this painting, Zaini portray boat with abstractions attending poetic atmosphere. With paintbrush strokes creating soft nuance, line and colour in Zaini paintings in the reality peep out object in dimness. With painting have soft nuance that’s Zaini very strong create lirical abstraction Ianguage. Style Personal becoming that Zaini individuality represent result of long struggle since year 1950-an. Painting ” Boat” this, like strength of its other paintings presenting order mystery from vague attendance of its object

With the spirit of which is breath with Oesman Effendi, sincein SIM Yogyakarta Zaini masterpiece gallery have gone to at forms moderation which is naïf. But that way, in the year 1949 he go out from SIM because in gallery gain strength estetic paradigm influence ” revolutionary nationality” leftist and not in line with him. At the time of that’s he is moved to Jakarta and start to develop its masterpieces with pie media yielding soft colour and line.

From long process, technique eksplorations with seeking form pass soft and off the cuff incision attend impresive object. That objects become blurry buttonhole with strong quiet expression. Careful of Zaini masterpiece in period hereinafter, like entering loaded world with spiritual contemplation. In it mengadung various personal comments about longing, silence, dismay, even death. Object like boat, flower, dead bird, or any, representing presented esensi from various external world phenomenon to comprehend contemplation of that spiritual. In Trisno Sumardjo year brochure 1957, told by process dialogued by spiritual pass that simple object become bridge to comprehend its contemplation at its cosmos world. Culminate attainment [of] that object spiritualisasi and abstraksi happened in the year 1970-an, that is when he powerfully attend poetic atmosphere in its masterpieces. Zaini become very expressive object buffer pass oilcolour incision and acrylic, with soft colour like fog

Boat / The Boat ( 1974)
Oilcolour above canvas / On canvas Oil, 65 x 80 cm,
Inv. 247/SL/A