Hendra Gunawan (Indonesian, 1918-1983) The Puppeteer
Lot 1
Hendra Gunawan (Indonesian, 1918-1983)
The Puppeteer
Sold for HK$ 2,980,000 (US$ 381,422) inc. premium

Lot Details
Hendra Gunawan (Indonesian, 1918-1983) The Puppeteer Hendra Gunawan (Indonesian, 1918-1983) The Puppeteer Hendra Gunawan (Indonesian, 1918-1983) The Puppeteer
Hendra Gunawan (Indonesian, 1918-1983)
The Puppeteer
Oil on canvas, framed
Signed and dated 'Hendra 74' at lower left
Painted in 1974

71 x 129.5 cm (28 x 51 in).

Footnotes

  • 亨德拉 · 古拿溫 木偶奇遇 油彩畫布 木框 一九七四年作
    簽名:Hendra 74

    Provenance:
    Acquired directly from the artist's second wife, Nuraeni
    Private Collection, Massachusetts, USA

    With a used copy of Claire Holt, Art in Indonesia: Continuities and Change, Cornell University Press, Ithaca, 1967 from the current collector

    來源:
    直接購自亨德拉 · 古拿溫的第二任妻子努莱妮
    美國馬薩諸塞州私人珍藏

    附現藏家提供之二手英文書,克萊兒 · 霍爾特,《印尼藝術:傳承與變遷》,康乃爾大學出版社,伊薩卡,1967年

    'From the beginning, it seems, Hendra was painting people in contexts of work and play, in celebration, struggle and death.' - Astri Wright

    The often-hailed quality of Hendra Gunawan to capture in all its resplendency and vividness the essential nature of Javanese life stems from the fact that the artist lived life amongst the subject of his works, and was entirely immersed and engaged all through his lifetime with the sights and events of the everyday. A realist painter with his own distinct and florid figural language, Hendra Gunawan excelled not only in grand historical themes, but also in creating highly recognisable tableaus of life such as in the present lot, The Puppeteer. The full range of colours used in each of his works - no doubt inspired by the elaborate decorativeness of Indonesian batik - is outstanding, particularly in how colours, not lines actually render his figures alive. The puppeteer hoists a figure of Petruk, a clown hero figure in traditional Indonesian puppetry. A woman, a boy and a girl, all three detailedly rendered, watch on enthralled. Hendra Gunawan is a master at framing such moment of pathos in everyday life in his paintings.

    Although Hendra led a generally difficult life struggling as a professional artist, his works were already critically and popularly acclaimed in his lifetime. The Puppeteerwas acquired by the present owner of the painting in 1976, an American lady who spent 15 years living and working in various parts of Africa, Asia and South America with her husband. Throughout their travels, she came to know many local artists, supported them in their work, and collected quality and representative pieces of art, all the while developing first-hand appreciation for the significance and cultural distinctiveness of their artistic contributions. She came to Jakarta in 1973, and joined the American Women's Club, through which she was introduced to Nuraeni, the second wife of Hendra Gunawan, who was actively seeking buyers for the current lot. A portion of the proceeds of Gunawan's art sales was used to support aspiring Indonesian artists trained by Gunawan and other artists in his art collective. In 1976, she moved back to Massachusetts with her family, and brought The Puppeteer back with her where it has stayed with her until recently.

    「自始,亨德拉 · 古拿溫所描繪的人物,似乎出自工作和玩樂的背景,不管是以歡慶、掙扎或死亡之姿。」── 阿斯迪 · 萊特

    亨德拉 · 古拿溫廣受讚譽的一點,在於他懂得充分展現爪哇人生活本質上的光彩及鮮麗。能有如此的造詣,是因為畫家的生活原本就與入畫題材互滲交疊。他一生浸濡於民間的日常聲色之中,與其深入交接。作為一位寫實畫家,古拿溫畫人物有他絢麗而自成特色的藝術語言。他所擅長的題材除了恢宏的歷史場面之外,還包括眾所認知的生活小景,如此件拍品──《木偶奇遇》所顯。古拿溫每一幅作品都有突出的色彩多元性,無疑乃是受啟於印度尼西亞峇迪蠟染的精巧裝飾性。其筆下人物造型賴以透發生氣的,並非線條而是顏色,尤可注意。此畫中的藝人操弄著印度尼西亞傳統木偶戲的詼諧人物「佩特魯」,一旁的婦人、男孩及女孩畫得十分細緻,盡顯觀戲入迷之狀。如此將日常生活中情致豐富的時刻定格於畫面,正是亨德拉 · 古拿溫本身的拿手好戲。

    儘管古拿溫的職業畫家之路總體而言充滿艱辛和坎坷,其作品已於藝術家在世期間,廣受藝壇和大眾的好評。《木偶奇遇》由美國女性藏家於1976年購得,其與夫婿曾旅居、工作於非洲、亞洲和南美洲各處長達15年之久。通過這些遊歷,她結識並支持多位當地藝術家,亦收藏了數幅具代表性的佳作,同時對這些大師的獨特文化和藝術貢獻有了第一手的領悟。1973年,她來到雅加達,加入美國婦女俱樂部,並通過介紹,認識了亨德拉 · 古拿溫的第二任妻子努莱妮。當時,努莱妮正積極為此拍品尋找買主,而銷售古拿溫畫作的部份所得亦投入支持古拿溫的有志學徒,和藝術家聯盟中的其他藝術家。1976年,她攜《木偶奇遇》,隨家屬遷回馬薩諸塞州,並珍藏至近期。
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