TAN TEE CHIE - Brobak Birds Competition

Tan Tee Chie ( Singapore ) - Brobak Birds Competition ,1966 ,woodcut


About the Artist : Tan Tee Chie was a graduate from NAFA in 1951 and became a lecturer there.


Brobak Birds Competition : 


-Documents an Asian pastime: bird competitions were, and still are in some places, a form of entertainment. The birds are judged on their singing abilities, and as birds are eliminated from the competition their cages are removed from their stands.
-Singapore still has these competitions regularly
-Is a way to document the everyday and to preserve traditions for future generations.


About woodcut : Woodcut is a type of printmaking technique where the artist removes the areas that he/she wants to keep white. The ink is applied only to highest surface on the block of wood, or those NOT carved away. Typically, artists will use line (like hatching and crosshatching in ink, except that they would carve away what they want to be white) to create values and depth, although Tan Tee Chie's woodcut is relatively flat lacking in tonal values.

NYOMAN NUARTA - Rush Hour

Nyoman Nuarta ( Indonesia ) - Rush Hour ,1992 ,brass and copper


About the Artist : Nuarta, one of the most well known sculptors in Indonesia, was born in Bali in
1953. He joined the Faculty of Fine  Art and Design, Bandung Institute of
Technology in 1973 and graduated in 1979. When he was still a student, his
works invited controversy because, against the advice of his professors, he
chose mimetic representation as the basic concept of his sculpture, while the art
academy favored a kind of modernism that produced semi-abstract sculptures –
emphasizing the search for the base essence of a subject rather than depicting it
as it might actually look.  To the teachers in Nuarta time, they thought they were
presenting a new idea in this emphasis of the abstract. To Nuarta, he wanted to
take what was real and re-represent it in a way that challenged tradition and
communicated to a future audience.  He was actually at the forefront of Indonesia
contemporary art movement

Rush Hour : cyclists are depicted hastily peddling against the wind.  They are
caught in a moment of full speed pursuit.  Featured in an endless physical quest;
rushing, yet not arriving anywhere.  They are wholly focused on their goal of
moving ahead. Symbolically, one way of interpreting this piece is as a metaphor
for modernism .

CHUA MIA TEE - Workers in a Canteen

Chua Mia Tee ( Singapore ) - Workers in a Canteen ,1974 ,oil on canvas


About the Artist :
-Born in Shantou, Guangdong Province, China in 1931
-In 1947, he enrolled in Chung Cheng High School but left school mid-way to pursue a formal arts education at the     Nanyang Academy of Fine Arts (NAFA).
-He received training in drawing, sketching with watercolour and painting, both with oils on canvas and with Chinese ink and colours on paper from NAFA director Lim Hak Tai and artists Cheong Soo Pieng, Koh Tong Leong and See Hiang To.
-Graduated from NAFA in 1952.
-Is one of Singapore's foremost realist painter. He is best known for his oil paintings which depict Singapore's vanishing traditional urban landscape. He is also a much sought-after portrait artist who has painted several prominent businessmen and politicians in Singapore, including Singapore's past and present presidents. National Language Class (1959) and Workers in the Canteen (1974) are two of his oft-discussed works.
-His drawings REFLECTS on life.


Workers in a Canteen : Through the painting of the workers in the Jurong Shipyard, Chua Mia Tee aims to highlight and salute the contributions of the working class to the young nation’s program of rapid industrialization and economical development. Such portrayal of the simple reality of the daily life of a blue-collar worker is the typical subject matter of Chua Mia Tee as a social realist, giving credit and recognition to the working class, in this case, the workers working in the Jurong Shipyard. Therefore, this painting holds much significance and nationalistic value.


Another example of his famous artwork : 



Chua Mia Tee ( Singapore ) - National Language Class ,1950 ,oil on canvas

LIU KANG - Life by the River

Liu Kang ( Singapore ) - Life by the River ,1975 ,oil on canvas


About the Artist : Liu Kang was a Singaporean artist famous for his Balinese-themed figurative paintings. He was a founding member of the Singapore Art Society, and was credited with developing the Nanyang style.

He was born in Fujian Province and he spent his early years in Malaysia, studied art in Shanghai and Paris, and taught art in Shanghai during the 1930s. Under the influence of Chinese artist and art teacher Liu Haisu (1896 –1994), Liu admired, and often appropriated the styles of French-based modernist painters such as Cézanne, van Gogh and Matisse. Liu Kang came to Singapore in 1942 and had been credited with numerous contributions to the local arts scene. In 1952, Liu Kang, Chen Chong Swee, Chen Wen Hsi and Cheong Soo Pieng went on their historic field trip to Bali in search of a visual expression that was Southeast Asian. Liu drew much inspiration from this trip which inspired some of his latter works. In 1970, Liu was awarded the Public Service Star by the Singapore Government. He was honoured by the same agency in 1996 with the Meritorious Service Medal. His works, spanning from 1935 to 1997, are a testament of his contributions to Singapore art.

Life by the River : Life by the River, a 1975 work, shows a village scene with busy human activity. Liu Kang is a master of composition. Depth in this painting is achieved more by the arrangement of shapes than by perspective, suggesting a pictorial sensitivity more in tune with the Chinese landscape tradition. The yellow walkway on the left and the river on the right not only echo each other, but also lead the viewer's attention to the houses in the distance.

Hendra Gunawan - Family Portrait ( oil on canvas )

About the Artwork :

The painting was painted when Hendra Gunawan was released from prison and his family was there to welcome him back. The background shows alot of families and the foreground shows Hendra himself , his two sons , his wife ( wearing green ) and most left to the painting is Hendra's student. Whom he married as a second wife later on.

Background Info of Hendra Gunawan :



Indonesian. Parents divorced when young.

1st wife was a Sundanese woman.

In 1942 fighting broke out in Indonesia against the Dutch Colonial Government.

Upon Indonesia's victory, Gunawan began to paint patriotic posters. Fell into poverty during this time.

In 1945, started an artist community called Frontline Painters. Invited dropouts and unemployed youth who wished to be his students to come to the studio. Studio gained nationwide influence.

Began to gain an identity as a freedom fighter, being pro-communist. In 1965, the government went through a violent change of hands to a Pro-Western and anti-communist government that would last for 32 years. In 1965-1978, Gunawan was detained (put in prison) by the new government. He was imprisoned due to his political ties, and paintings of controversial subject matter (including those of prostitutes).

Throughout his life, his subject matter of his artworks have dealt with the working class, politics, and documentation of daily life.

SOURCE : http://sec4review.blogspot.com/2010/07/hendra-gunawan.html

Description :

- The painting is dominated by five figures in the foreground.

- In the forground , there are two female figures and three male figures. They are in a pose for a family portrait .

- In the background , there are alot of human figures gathering there. They might also be families.

- The colours used are warm colours .

Analysis :

- The composition of the painting is painted where the two females are at the left and the three males at the right . Hendra Gunawan is in the center and is sitting on a chair . This might suggest that he garner respect from his family / he has most of the authority in his family.

- The background is characterized by alot of human figures. This might also suggest that there is a carnival or family festival going on.

- The foreground is dominated by the five figures.

- The artist draws a focus to himself by painting his own skin the most colourful with unnatural splashes of yellow, green and blue which portray the artistic, unique side of him, and make him stand out, among the rest of the family members.

Interpretation :

- The painting depicts a family portrait with the artist and his first wife wearing very detailed traditional Indonesian patterned Batik clothes .

- The subject matter is a reflection of a reunion / complete family .

- Unlike other family portraits , this painting , was painted while Hendra Gunawan was in prison.

- The artist seems to suggest that he wanted to have a reunion with his family.

Evaluation :

- In my opinion , this painting portrays a desire from the artist to reunite with his family / have a complete family .

- The choice of colours portrayed are colourful and artistic.

- The strength of the painting lies in the clothing his wife and him was wearing.

- It is a successful attempt because the portrait shows a complete family.



Dorothea Lange - Migrant Mother ( Gelatin silver print )

About the Artwork :

Migrant Mother, Dorothea Lange's 1936 photograph of Florence Owens Thompson and children became the most famous image of the Great Depression in the United States. Its one of the classic photographs of the 20th century, and is now an icon of resiliance in the face of adversity. Its focus seems to be a little off, but its still a great image

Background info of Dorothea Lange :

Dorothea Lange (May 26, 1895 – October 11, 1965) was an influential American documentary photographer and photojournalist, best known for her Depression-era work for the Farm Security Administration (FSA). Lange's photographs humanized the tragic consequences of the Great Depression and profoundly influenced the development of documentary photography.

Description :

- The painting is dominated by the 'Mother' figure in the center.

- The foreground , ther is the 'Mother' figure with a frowned face. She is carrying a baby in her arms.

- In the background , there are two children facing the back and looking down . They are hugging the 'Mother' figure.

- The painting is composed of irregular shapes.

- The colours used are monotones , with only black and white.

- No texture is created in this print.

Analysis :

- The composition of the painting is created where by the 'Mother' figure is at the center and the two children are at the sides and facing the back.

- The background is characterized by dark shadows with gradient, createf by the figures.

- The foreground is dominated by the 'Mother' figure , frowning , with a worried and anxious face. Her wrinkles are showing that she had a hard time. She looks fragile.

- The artist draws focus to the 'Mother' figure by highlighting her face.

- The picture is realistic and is from a photograph taken by Dorothea.

Interpretation :

- The painting depicts a 'Mother' figure with two children standing on both sides and an infant in her arms.

- The subject matter is a reflection of anxiety. This may suggest that she is worried about something or in deep-thoughts as she is frowning , with a hand on her chin.

- Unlike regular family portraits , this painting shows no male figure that is possibly the father of the children.

- The artist seems to suggest that they are leading a hard life as they are all wearing worn-out clothings. The two children are also leaning against the 'Mother' figure , perhaps , in desire for comfort or may be they are not feeling well / sad / in hunger.

Evaluation :

- In my opinion , this painting portrays the worries and anxiety of the 'Mother' figure.

- The choice of colours portrayed are mono-toned , with only black and white. This can mean that the future of the figures are bleak and dark.

- It is a successful attempt because the portrait shows a strong sense of anxiety in the 'Mother' figure.

Liu Kang - Artist and Model ( oil on canvas )



About the Artwork :

In Artist and Model which shows Chen Wen Hsi sketching a Balinese woman, Liu Kang's dark outlines have become white - an innovation which could have been inspired by batik painting. Painted in 1954, this work may be based on a sketch made during the artists' field trip to Bali two years earlier. Chen is seated, working on a sketching board propped on another rattan chair. This rhythmic repetition of chairs, further echoed by the number and arrangement of tea pot and cups on the round table makes the entire painting delightfully casual and whimsical.

Background Info of Liu Kang :

Liu Kang was a Singaporean artist famous for his Balinese-themed figurative paintings. He was a founding member of the Singapore Art Society, and was credited with developing the Nanyang style.
He was born in Fujian Province and he spent his early years in Malaysia, studied art in Shanghai and Paris, and taught art in Shanghai during the 1930s. Under the influence of Chinese artist and art teacher Liu Haisu (1896–1994), Liu admired, and often appropriated the styles of French-based modernist painters such as Cézanne, van Gogh and Matisse. Liu Kang came to Singapore in 1942 and had been credited with numerous contributions to the local arts scene. In 1952, Liu Kang, Chen Chong Swee, Chen Wen Hsi and Cheong Soo Pieng went on their historic field trip to Bali in search of a visual expression that was Southeast Asian. Liu drew much inspiration from this trip which inspired some of his latter works.

Description :
- The painting is dominated by the two figures .
- In the foreground , there are two figures sitting on the chairs facing each other. The model is posing a pose while the male artist is drawing a portrait of the female model. There are also two tea cups and a tea pot on the round table , while the handles of the tea cup facing the male artist at the table edge , while the tea pot handle facing the female model.
- In the background , there are scenery of mountains , greenary , river and clouds.
- The colours used are warm for the foreground and cool for the background.
- The colours used are flat and therefore , no texture is created in this painting.
- The female model wears accessories and skirt that is contrasting to the background , which could suggest that she is a local balinese women.

Analysis :
- The composition of the painting is painted where both figures are at the center . The female model is painted on the left while the male artist is painted on the right. The tea pot and tea cups are also painted red on a white surface to bring out a contrast.
- The mountains in the background are characterized by geometric shapes and bold white outlines.
- The foreground is dominated by warm colours such as yellow , orange , red and yellow-green.
- The artist draws a focus to the tea pot and tea cups by contrasting it with red on a white/light-blue surface.

Interpretation :
- The painting depicts a female model that is half-naked and a fully-clothed male artist painting her.
- The subject matter is a reflection of double-standard . This may suggest that the society there may be sexist as the tea pot handle is facing the female model , perhaps the female model is serving tea to the male artist in the painting and the one looking and painting the scene.
- Unlike other paintings , this painting shows the female model sitting on a stool while the two chairs with backrest are sitted by the male artist and another one empty, perhaps , it is for the viewer of this scene to sit.
- The artist seems to suggest that females in that era/time/place seemed to be a subject of objectivity.

Evaluation :
- In my opinion , this painting portrays sexism of the female gender. This painting also portrays the double-standard towards the females.
- The choice of colours portrayed like the skin colour on the female is brighter and the male with darker skin colour . This can mean that they are two different races or from two different places.
- It is a successful attempt because the painting shows a strong sense of sexism.

 Lai Foong Moi - Labourer/Lunch Break ( oil on canvas )

About the Artwork :

 Lai Foong Moi (LFM) received her art education
  from Spore (NAFA 2nd generation artist) and in
Paris. Her artworks depict subjects from all races
and walks of life. Virtually all her paintings show a
direct and natural finesse and yet at the same
time, impart an emotional resonance. In this
artwork, the labourer is portrayed as sitting
casually in an eating-place, gazing into the
distance and is deep in thought. He is the principal
subject whilst in the background, a samsui woman
is eating from a tiffin carrier. A sense of
spaciousness is created in the composition by the
laying out of dark chairs and tables in the
background and figures in the foreground. As there
is no clutter or use of shadows, a sense of
simplicity and light is felt. The principal subject is
dressed casually in a labourer’s outfit, but his
clean clothing and combed back hair provide him
with an air of respectability. His legs appear to be
suntanned and muscular and his face, with the
determined jaw, contribute towards the impression of a honest working man.

About Lai Foong Moi :

Lai Foong Moi studied in NAFA and went for further studies in Paris. She was best known for painting people.

Describe :

- The painting is dominated by a male figure , probably a labourer .

- In the foreground, there is a male figure who seemed like a labourer.

- In the background , there is a Samsui women holding chopsticks , eating from a metal tiffin carrier.

- The painting is composed of both regular and irregular shapes.

Analysis :

- The composition of the painting is painted where the labourer is sitting in the foreground and the samsui women, with her back facing us , in the background.

- The background is characterized by the samsui women eating with chopsticks from a metal tiffin carrier.

- The foreground is dominated by the male figure sitting in a relax and calm position.

- The artist draws focus to the male figure by using both warm and cool colours on the male figure while using only dull colours on the samsui women.

Interpretation :

- The painting depicts the lunch break of the labourers .

- The subject matter is a reflection of hard labour.

- Unlike other figures in painting , this figure in the painting has got a serious and honest look.

- He seemed to be in deep thoughs and the jaw lines made his face stern and honest.

- The artist seems to suggest the labour of people.

Evaluation :

- In my opinion , this painting portrays the labourers having a lunch break in the canteen.

- The choice of colours portrayed are dull and earthly colours , with a little warm and more of cool colours.

- The strength of the painting lies in the male figure.

- The muscular legs might suggest that they are labourers who do rough jobs.

- It is a successful attempt because the painting shows that both the figures are labourers.

                                          Georgette Chen - Portrait of Eugene Chen ( oil on canvas )

About the Artwork :



Her husband was a favorite subject of hers. She often painted fine portraits such as this of him over the years. They capture elements of his personality and many such as this seem to be influenced by Van Gogh’s portraits.

This work comes from the period of Chen’s Post-Impressionist period. It provides the viewer with Chen’s own understanding of her husband as well as a superficial rendering of how he looks.



Background Info of Georgette Chen :

She was born Chang Li Ying probably in Zejiang Province, China in 1906. There is some disagreement about the year and place of her birth, some claim she was born in Paris, and others claim that the year of her birth was 1907. The daughter of a business man, she lived a privileged life, travelling through China, to Paris and New York during her youth. She attended art classes at the Art Students League in New York (1926-1927), and later in Paris she studied art at the Academie Colarossi and Academie Biloul. In 1930, she married her first husband, the Chinese Foreign Minister, Eugene Chen Youren. This was also the year that the first of her art works was accepted for exhibition, at the Salon d'Automne in Paris. Her early work, for example, Still Life with Cut Apple and Orange (circa 1928 - 1930) is characterised by the influence of the late nineteenth century French Impressionists such as Jean Baptiste Corot and Paul Cezanne, with her heavy brush strokes and emphasis on volume and texture.

Description :
- The painting is dominated by the male figure , Eugene Chen .
- In the foreground , there is the male figure sitting on a armchair , holding a red book and with a stern and serious look.
- He is wearing a grey top with a scarf , wearing round spectacles , frowning.
- The colours used are earth colours , which contrasts with the male figure.

Analysis :
- The composition of the background is painted with short and vertical brushstrokes , which makes the background flat.
- The foreground is dominated by the male figure , Eugene Chen sitting on the armchair. The male figure is painted with dull colours that brings out the seriousness of the male figure.
- The artist draws focus to the book that Eugene is reading by painting it in red , which stands out among the dull and earthly colours.

Interpretation :
- The painting depicts much about the subject. The resting of his head suggest a weariness about him, which probably had to do with his important role in China’s political affairs.
- His comfortable position of sitting might mean that both know each other well.
- The subject matter is a reflection of Eugene in deep thoughts as he is looking elsewhere rather then looking at the painter.
- Unlike Georgette's other paintings , this painting shows the understanding of Georgette towards Eugene through the painting.

Evaluation :- The choice of the colours portrayed are dull and earthly .
- The strength of the painting lies in the red book that Eugene is reading , a book that makes him so mesmerised into it.
- It is a successful attempt because from the painting , we can see that Eugene has just closed the book that he is reading , and in deep thoughts .

Bayu Utomo Radjikin - Lang Kacang ( mixed media )

About the Artwork :

Sculpture of a armless tribal warrior screaming into the void

Expression on face is contorted by his roar of frustration and anger

Artist’s self portrait?

Vibrant, fierce, thought provoking

Warrior is the symbol of the spirit who becomes a source of protection and support throughout his life’s journey – caught in the midst of confusion and seeking direction

Describes the emasculation of the modern man — soulless and empty within

Displacement of tradition and culture by western modernity – the warrior appears alienated from his time and is helpless to his situation; the armless warrior is useless – hinting on the impracticality of culture and tradition beside the rise of modernity; appearing as something weakened, useless, unable to fight back

However, elaborate headdress symbolizes rich culture and tradition — upwards tilt of the head suggests a sense of defiance and pride and resolve

Background Info of Bayu Utomo Radjikin :

Malaysian sculptor and painter

Founder of the Matahati – group of artists inspired by artist-critic Wong Hoy Cheong

Javanese/Indonesian roots

Post colonial influence – but instead of resolving Asian roots with Western influences (like most artists of his time), he encapsulates the emasculation of the human condition with the loss of culture

Description :
- The artwork is dominated by the sculpture.
- The sculpture looks like a tribal warrior.
- The sculpture is characterized by scrap metal and feathers.
- The texture created are hard and rough , rusty.
- The colours are vibrant .

Analysis :
- The composition of the artwork is the fustration and anger the sculpture shows with the head thrown backwards.
- The facial expression is contorted in emotion and yet the torso stands stiff and rigid, bound by bandages of metal.
- The contrast of the sculpture is due to the constricting of metal, the feathers of the headdress stand defiant
and proud, symbolic of rich traditional culture and evocative of traditions past that are slowly being abandoned.

Interpretation :
- The sculpture depicts a tribal warrior that is armless , perhaps , trying to show the aftermath of a fight / war between tribes
- The subject matter is a reflection of violence and conviction , due to the armor and chains attached to the warrior.
- The artist seems to suggest the displacement of tradition and culture by western modernity – the warrior appears alienated from his time and is helpless to his situation; the armless warrior is useless – hinting on the impracticality of culture and tradition beside the rise of modernity; appearing as something weakened, useless, unable to fight back.

Evaluation :
- In my opinion , this sculpture portrays the displacement of tribes as time passes along with the western modernity.
- The choice of the colours on the sculpture makes it vibrant.
- The strength of the sculputre lies in the feathery armor , scrap metal and metal chains that are attached to it.
- It is a successful attempt as the sculpture shows the displacement of tribes and him, unable to do anything / fight back as there are chains attached to it.

                                                 Vinvent Van Gogh - Self-portrait with bandaged ear

( Painted when he cutted of his ear after his room-mate , Paul Gauguin , became famous and moved out. )

About the Artwork :

"Self Portrait with a Bandaged ear" was painted in 1889. Van Gogh left Paris (where he was) to Arles to paint more of nature. He induced Paul Gauguin who he met in Paris to join him and they painted together. But after less than two months, they began to have violent disagreements. At this period of time Van Gogh began to suffer from serious mental illness, including madness and delusions. Hence, during one of the quarrels, Van Gogh chased and threatened Gauguin with a razor. Immediately following this episode, Van Gogh returned home, cut his ear off in remorse and offered it to a prostitute as a gift. This painting was created two weeks after this breakdown and directly motivated by the psychotic attack. Soon after, Van Gogh discovered that Gauguin had left Arles. He felt deep remorse at that and also disappointment that his own behavior had destroyed his dreams of forming an artistic community. After suffering from a nervous breakdown, Van Gogh checked himself into a sanatorium.

                   Background Info of Vincent Van Gogh :           

Vincent Willem van Gogh -30 March 1853 – 29 July 1890) was a Dutch post-Impressionist painter whose work had a far-reaching influence on 20th century art for its vivid colors and emotional impact. He suffered from anxiety and increasingly frequent bouts of mental illness throughout his life and died, largely unknown, at the age of 37 from a self-inflicted gunshot wound.

                                 

Little appreciated during his lifetime, his fame grew in the years after his death. Today, he is widely regarded as one of history's greatest painters and an important contributor to the foundations of modern art. Van Gogh did not begin painting until his late twenties, and most of his best-known works were produced during his final two years. He produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings and sketches. Today many of his pieces—including his numerous self portraits, landscapes, portraits and sunflowers—are among the world's most recognizable and expensive works of art.

Description :

- This painting is dominated by the self portrait of Van Gogh himself , with a bandaged ear.

- In the foreground, Van Gogh is the main subject that is wearing a green coat and a black hat.

- He also has a somber expression on his face and he looks sad but calm.

- In the background , there is a Japanese print with Mt.Fuji in it.

- The colours used are warm for the forground , slighting brighter for the background.

- The texture created by the brushstrokes are short and vertical for Van Gogh's clothings.

- The walls of the painting are painted long and vertical.

Analysis :

- The composition of the painting is painted where Van Gogh is positioned slightly to the left so that the Japanese print could be seen.

- The background is characterized by the Japanese print.

- The foreground is dominated by Van Gogh himself.

- The artist draws focus to himself by contrasting it with monochromatic colours around him.

- The brushstrokes executed are short and vertical , making the painting looks flat but with shadow.

Interpretation :

- The painting depicts Van Gogh's remorse but calmness towards the argument with Gauguin.

- The subject matter is a reflection of Van Gogh's disappointment towards himself of destroying the chance of having a group of artists painting together.

- Unlike other paintings , this painting is dominated by cools colours which gives us a calm feeling and the expression on his face further exaggerated the feeling and emotion he had at that point of time.

Analysis :

- In my opinion , this painting Japonism , which greatly influenced Van Gogh.

- The choice of colours portrayed the emotions of Van Gogh.

- The strength of the painting is that it is realistic and naturalistic .
- It is a successful attempt because the artist has used his colors well, providing a somber atmosphere which he wants to show. His purpose is met and the emotion that he had at that point of time is well depicted and clear for the viewers to feel. Moreover, we feel that he had painted the facial features well and gave them shape although it was not that much of a concern of his.

Self-Portrait was an artwork that was painted after Affandi won an award at Venice.

About the Artwork :

The artist is well-known for his figurative works, particularly the 1960s body of work exploring the damatic exaggerations of wayang topeng (masked theatre) performance and the stereotype roles of the masked characters. As can be seen here , aesthetic emphasis through brush strokes , palette choice and presentation of the subject can endow the sitter with a certain personality and disposition. In his early career, Affandi was a self-taught artist and he rejected the intellectualisation of art, preferring to derive his subject matter and inspiration from everyday Indonesian life. Nonetheless, the artist's exposure to Western art traditions and his perceptions of socio-cultural issues in his homeland are strong undercurrents in his work. In this painting, Affandi uses his signature whipping convoluted brush strokes to imbibe a sense of vitality and dynamism into this self-portrait. With a strong palette of primary and secondary colours --red,yellow,green as well as a hint of brown and flesh undertones, a sense of the artist's spiritual and emotional depth in evoked. As with Affandi's other work, the facial expression beneath divulges an insight into his interpretation of self. With downcast eyes and a mouth of broken teeth, we see an aging artist, yet one who still exudes confidence and passion. This painting was created to commemorate an honorary degree conferred on him by Singapore University. Gazing directly at the viewer, this is an artist who is aware of his success and yet realises the frailty of his physical self.

Background info of Affandi :

Affandi (1907 – May 23, 1990) was born in Cirebon, West Java, as the son of R. Koesoema, who was a surveyor at a local sugar factory. Affandi finished his upper secondary school in Jakarta, but he forsook his study for the desire to become an artist. Affandi taught himself how to paint since 1934. He married Maryati, a fellow artist, and one of his children, Kartika also became an artist.

In the 1950s, Affandi began to create expressionistic paintings. Carrying the First Grandchild (1953) was the piece that marked his newfound style: “squeezing the tube.” Affandi paints by directly squeezing the paint out of its tube. He came across this technique by accident, when he intended to draw a line one day. As he lost his patience when he sought for the missing pencil, he applied the paint directly from its tube. The resulting effect, as he found out, was that the painting object appeared more alive. He also felt more freedom to express his feelings when he used his own hands, instead of a paint brush. In certain respects, he has acknowledged similarities with Vincent van Gogh.

Description :

- The painting is dominated by a face of a male figure.

- In the foreground, there is a face of a male figure.

- The painting is composed of curvy , wavy , bold and messy lines.

- The colours used are contrasting and warm , with a mixture of primary and secondary colours , and a little  of eath and flesh colours.

- The texture created are rough as the lines are messy and wavy.

Analysis :

- The composition of the painting is painted where the main focus is the face of the male figure in the center.

- The background is characterized by green and earth colours.

- The foreground is dominated by the face of the male figure that is painted in bold and wavy brush strokes.

- The artist draws focus to the face by painting it with bright and warm colours with the dull colour as the background.

- The brushstrokes executed are bold , wavy , messy and curved.

Interpretation :

- The painting depicts the man , probably the artist himself , in a very spiritual and emotional mood.

- The subject matter is a reflection of the artist as it was painted not long after he won an award.

- Unlike his other paintings , this painting seems to show that the artist himself is aging as the mouth is filled with broken teeth and with a downcast eye.

- The artist seems to suggest that the figure is elated.

Evaluation :

- In my opinion , this painting portrays the exhilaration of the artist himself.

- The choice of colours portrayed with a mixture of primary and secondary colours --red,yellow,green as well as a hint of brown and flesh undertones, a sense of the artist's spiritual and emotional depth in evoked.

- It is a successful attempt because the colours used surfaces the spiritual and emotional depths of the artist.