{"status":true,"msg":{"data":{"id":1910,"auction_id":4,"set_id":5,"lot_number":"179","artist":"Affandi (1907 - 1990)","title":"Menyongsong Hari Yang Cerah (Sunny Day)","starting_price":4000000,"signed_dated":"signed and dated 1983 (lower right)","medium":"oil on canvas","size":"40\" x 55\" (102 cm x 140)","property":null,"coa":null,"provenance":"Private Collection, Indonesia","exhibited":null,"literature":null,"write_up":"Affandi’s Menyongsong Hari Yang Cerah (Sunny \nDay) is symbolic of the Indonesian modernist \nvirtuoso’s undying homage to the radiant charm of \ntheir matahari (lit. “eye of the day”), the Indonesians’ term \nof endearment for their sun. By the time Affandi finished \npainting this work, he had already garnered an outstanding \namount of local honors and international exposure, \nincluding being one of Indonesia’s representatives to the \nVenice (1954), São Paulo (1952, 1956), and Sydney (1973) \nBiennales. In 1974, Affandi was bestowed an honorary \ndoctorate from the National University of Singapore, one \nof the world’s leading institutions for higher education. \nAffandi received the “Bintang Jasa Utama” in 1978 from \nthe Indonesian government for his artistic contributions \nto the Indonesian Revolution.<br /><br /> \nMenyongsong Hari Yang Cerah (Sunny Day) (trans. \n“Welcoming A Bright Day”) exhibits Affandi’s expressionist \nflair. The revered artist first ventured into expressionism \nin the late 1940s and would never abandon it for his \nphotographic realism in the early stages of his career, \ngiving more importance to emotional mastery rather \nthan technical prowess.<br /><br /> \nThe sun, a recurring icon in Affandi’s art, possesses an \nall-encompassing power and radiance, symbolizing its \nsignificance as the giver and sustainer of life. The lush \nflora seemingly rises in adoration and homage to the sun, \nwelcoming the arrival of a new day and the restoration \nand renewal of one’s sense of hope and strength. It \nis a likely allusion to the Indonesian national motto, \n“Bhinneka Tunggal Ika,” which means “Unity in Diversity,” \nsymbolizing Indonesia’s identity as an ethnically diverse \nnation. The swirling strokes, which manifest Affandi’s \nunbridled gush of emotions, expressive resonance, and \nsolid creative impulses, epitomize his avant-garde practice \nof squeezing paint onto his thumb and then spreading it \nthroughout the canvas. <br /><br />\nIn the TIME magazine issue dated January 12, 1953, \nAffandi’s painting technique is described as follows: \n“Affandi never learned to use a palette, dislikes brushes. \nInstead, he squeezes paint onto his thumb, then smears \nit around the canvas. He will often spend a week \nstudying a subject, but the actual painting seldom takes \nlonger than 90 furious minutes. ‘After about an hour,’ he \nsays, ‘I usually feel my emotions declining. It’s better to \nstop then. The painting is finished.’”<br /><br />\nThe vibrant intensity of Affandi’s colors engenders \nmyriad expressions that show the artist’s emotional \nsensibilities. He possesses a creative eye so well adjusted \nto a kind of naturalism that underscores essence rather \nthan the rigorousness in minute details. Thus, Affandi’s \nwork not only provides authenticity of character but \ntranscends the boundaries of the physical and exalted \nright into the spiritual. <br /><br />\nAffandi was a self-taught artist, learning from reading \ncopies of Studio, a London-based art magazine, \nand seeing reproductions of paintings by numerous \nEuropean masters, such as Francisco Goya, Edvard \nMunch, Pieter Breughel, and Sandro Botticelli. Affandi \nwould become the foremost champion of Indonesian \nmodernism, together with Sindudarsono Sudjojono, \nthe “Father of Indonesian Modern Art.” They led \nIndonesia’s transition from the conservative style of the \nMooi Indie (Beautiful Indies) to the modern art of the \nImpressionist/Expressionist-influenced painters who \nrevolutionized Indonesia’s art landscape by producing \nworks depicting the people’s realities under a then newly independent nation. Affandi also participated in \nthe Indonesian National Revolution against the Dutch \ncolonists, creating posters that awakened the sense of \nnationalism in his fellow countrymen. (Adrian Maranan)","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":5000000,"bp":0.2016,"isWithdrawn":0,"accounting_hp":5000000,"userBid":5926,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":6008000,"fav":0},"image":[{"id":1918,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/4/5/lot/179.jpg","isFeatured":1}]},"increment":[5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":178,"next":180,"count_bid":0,"bid_history":[],"tokenExpired":1}