Balinese modernism propelled by noted European artists<\/p>\n
UBUD, Bali (JP): Development in painting is not immune from
\noutside influences.<\/p>\n
Balinese paintings began to absorb foreign influences in the
\n1920s, with the arrival of Western artists, photographers,
\nmusicians, sculptors and anthropologists.<\/p>\n
Visiting Bali between the l920s and l930s was the privilege of
\na few people, often with discerning tastes. In the 1920s, some
\nWestern artists started to live on the island and build their own
\nstudios.<\/p>\n
Among these artists were German painter Walter Spies and Dutch
\nartist Rudolf Bonnet, who introduced modern materials and
\npainting techniques and the concept of free expression as opposed
\nto the tradition of working within a set of cultural confines.<\/p>\n
Spies and Bonnet urged local artists to use broader themes,
\nand encouraged them to paint. These Balinese artists began to
\npaint their own impressions and experiences and portrayed them in
\nvaried and masterly ways.<\/p>\n
Needless to say, although themes of daily life and rituals
\nwere present in Kamasan paintings, the new works created in Ubud
\nwere singular compositions free of religious and ceremonial
\nvalues. Although the paintings were innovative, the beauty of the
\nlines and the strength of the style and focus clearly showed a
\nBalinese exuberance and orientation, partly due to the fact that
\nthe artists did not abandon the traditional painting methods
\nwhich they had already mastered.<\/p>\n
From their talented hands came paintings showing farmers, rice
\nfields, marketplaces, religious ceremonies, musicians, dancers
\nand so forth.<\/p>\n
At the peak of this period, in l936, over 250 artists were
\nproducing works of high quality, though some were more productive
\nthan the others.<\/p>\n
During that period, there were accomplished Balinese artists
\nsuch as Ida Bagus Kemben (1897-1952), Tjokorda Oka Gambir (1893-
\n1972), Gusti Nyoman Lempad (1862-1978), Anak Agung Gede Sobrat
\n(born in l911) and Gusti Ketut Kobot (born in l917), who
\npreviously painted in the style of wayang puppet.<\/p>\n
The works of artists of this period are currently on display
\nat Museum Puri Lukisan in Ubud, Bali, through Nov. 30, in an
\nexhibition theme Magic and Modernism.<\/p>\n
Leo Haks, the exhibition's guest curator, said during the
\nopening ceremony on Sept. 25 that the main objective of this
\nexhibition was to display works of this period where to many it
\nis relatively unknowns, especially the work of the Sanur artists.<\/p>\n
The exhibition serves to give recognition to the artists whose
\nwork have become all but forgotten and stored in museum archives.<\/p>\n
The problem with the documentation of the works of these
\nartists was a matter of individualization. The artists of the
\nl930s rarely signed their works, making it difficult to record
\nthem accurately.<\/p>\n
Some of the finest examples of Balinese modernism belong to
\nMuseum Puri Lukisan, Bali, the Documentation Center, Bali, Museum
\nSana Budaya, Yogyakarta, and some private collectors.<\/p>\n
The exhibition displays 72 paintings from the period 1928 to
\n1942 representing the villages of Bali's three main painting
\ncenters: Ubud, Batuan and Sanur. (raw)<\/p>",
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