Artist Barli learns from age and experience<\/p>\n
By Aendra H. Medita<\/p>\n
BANDUNG (JP): Over the past six-and-a-half decades, Barli
\nSasmitawinata has created a body of work that has secured his
\nwell-deserved reputation as one of Indonesia's greatest painters.
\nAnd this indefatigable master, who was born on May 21, 1921,
\ncontinues to produce canvasses of astounding beauty, imagination
\nand strength.<\/p>\n
Barli was part of the famed Group of Five, which also included
\nthe artists Affandi, Wahdi Sumanta, Hendra Gunawan (all now
\npassed away) and Soedarso. Though he has already had a storied
\nand distinguished career by anyone's standards, Barli at the age
\nof 80 remains a prolific painter whose work has the power to
\ninspire and whose canvasses are coveted by art collectors, as
\ndemonstrated by his July 7 to Aug. 7 exhibition at Sriyanto
\nGallery in Pondok Indah, South Jakarta.<\/p>\n
Barli began his artistic journey under the tutelage of Italian
\npainter Luigi Bobili and Dutch master Jos Pluments in 1935.<\/p>\n
"I really respect them as they took me into the world of arts.
\nFrom them I learned the techniques and the rudiments of
\npainting," he said.<\/p>\n
Barli then went on and graduated from the Grande de La
\nChaumiere in Paris in 1950 and from the Beeldende Kunsten School
\nof Arts in Amsterdam in 1955.<\/p>\n
The youngest son of a trader, Raden Haji Harun Al Rasyid,
\nBarli grew up in an Islamic boarding school. His early exposure
\nto Sundanese culture and traditions plunged him into West Java's
\ntraditional arts. He rose to prominence playing the role of the
\nfamed Ki Lengser in a traditional Sundanese play. But shortly
\nafterward, he abandoned the stage to concentrate on painting.<\/p>\n
During World War II, Barli, Sudjana Kerton, Hendra Gunawan and
\nother painters residing in Bandung joined Youths of the Republic
\nof Indonesia, and were assigned to paint war-time events. It was
\nhere that Barli received an order from Col. Nasution, then the
\nmilitary commander of West Java, to design the emblem that is
\nstill worn by troops from the Siliwangi command.<\/p>\n
In 1948, Barli established Jiva Mukti, an arts education
\ncenter in Bandung, but the center was disbanded after the Asia-
\nAfrica Conference in 1955.<\/p>\n
For a few months in 1957 he taught at Pajajaran University and
\nthe Pedagogical and Teachers' Training Institute. After a
\ndisagreement over subject matter, Barli resigned. He then taught
\nart at his own house-cum-studio, Studio Rangga Gempol, a private
\nart school that produced such well-known painters as Anton Huang,
\nPopo Iskandar, Rudi Pranajaya and Chusin.<\/p>\n
Jim Supangkat, a noted art critic, has written that Barli is
\nwithout equal among Indonesian painters. "He is the only
\nIndonesian painter who links the two development points of
\nIndonesian painting: the art of painting during the colonization
\nera and the modern art of Indonesian painting."<\/p>\n
The following is an excerpt of a recent interview with the
\nartist.<\/p>\n
Question: At the age of 80, you are still active in painting
\nand holding exhibitions. What motivates you?<\/p>\n
Answer: Thank God that despite my age I keep on painting,
\nbecause I really love art. This has become a very strong
\nfoundation that gives me lots of ideas and inspirations.<\/p>\n
How do you remain consistent with and committed to your
\nprofession?<\/p>\n
Basically, we must not feel bound by it but we must bind
\nourselves to it, so we can feel the love and crave it.<\/p>\n
Have your works undergone major changes over the years?<\/p>\n
Yes, but I stick to realism; shapes of objects are still
\nharmonious in nature and faithfully expressed ....<\/p>\n
Do the lines in your drawings and paintings reflect the
\nstrength of your style?<\/p>\n
To me painting is not merely transferring an object, but also
\nexpressing the values of drawing. To draw an object, you have to
\nthink of the technical aspects. There lies the strength, be it a
\ndrawing or a painting. But the basic reality, the form of realism
\ncan change, depending on the idea.<\/p>\n
How do you respond to "instantly made" paintings?<\/p>\n
Generally speaking, these are made by young painters who
\nusually believe that making abstract paintings takes only a short
\ntime. Realistic objects cannot be expressed in such a way; what
\nlies inside must be brought to the surface. Anyway, instant
\npainting is a shortcut for a beginner, whereas a real painter
\nmust enjoy his work, particularly the process.<\/p>\n
So you find something enjoyable in your work?<\/p>\n
Of course. Whenever I paint, I feel happy, joyful and free.
\nThat affects my painting style. I am never bothered by feelings
\nof restlessness, so I am sure (my work) will be accepted by the
\npublic.<\/p>\n
What about the themes of your paintings?<\/p>\n
That's important. I take the themes of my paintings from
\nordinary people, beggars, traders in the market, noodle sellers,
\nbuskers and sometimes dancers.<\/p>\n
Do you have any conflicts when painting?<\/p>\n
There is no conflict because I have worked through a natural
\nprocess; I started from mistakes and learned from them to gain
\nmaturity.<\/p>\n
How do you react and respond to the current situation in the
\ncountry?<\/p>\n
As usual, for I believe that art is something that people
\nenjoy, so it is the job of artists to lend aesthetic values to
\ntheir works.<\/p>\n
Was it your childhood ambition to be a painter?<\/p>\n
I cannot let a day pass without painting. When I was small, I
\nwanted to be a painter whose works were enjoyed by many people.
\nIf I get something from painting, that's only a byproduct. A
\npainter is a reflection of his society. I'm emotionally attached
\nto people and that's my realism and my strength.<\/p>\n
When working with your students, what kind of teaching methods
\ndo you adopt?<\/p>\n
They are left to their own devices. They are completely free
\nto determine what to choose. I only give them some directives,
\nbasic techniques and accent. It is difficult to rein in artists,
\nmuch more their works. Let them just move on.<\/p>\n
Do you have any advice for young artists?<\/p>\n
When you become an artist, be a good artist. So if you want to
\nbecome a good painter, be a good painter -- or whatever career
\nyou wish to pursue: music, theater, dance or others. Always be
\nconsistent, that's my advice.<\/p>",
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