Rizek's work in RI was his formative period<\/p>\n
By Amir Sidharta<\/p>\n
JAKARTA (JP): Austrian painter Emil Rizek (1901-1988) started
\nto establish his mature artistic style during brief stays in
\nIndonesia between 1929 and 1934. Around seventy of his paintings,
\non exhibit at the Duta Fine Art Gallery on Jl. Kemang Utara 55 A,
\nare evidence of this formative period.<\/p>\n
Born in Vienna in 1901, Rizek studied art at the academy of
\narts in Vienna. The most influential of his professors was Carl
\nFahringer (1874-1952). Fahringer, who had lived and worked in the
\nDutch-Indies since 1921, persuaded Rizek to visit Indonesia.<\/p>\n
At the age of 27, the young artist arrived in Indonesia in
\nDecember 1928. On the Deck of the 'Tjermai' , a brightly colored
\nrendition of the atmosphere aboard the ship that he took to
\nIndonesia, stands witness of his high-spirited enthusiasm.<\/p>\n
The figure of a man lying asleep in a chair seems a little
\nawkward and clumsy, but there is a strong perspective view to the
\nfront of the ship indicating the artist's determination to move
\nforward and progress.<\/p>\n
He traveled through Java, Bali and Sumatra. In his first
\npaintings during this trip, shapes are formed using various
\nblocks of color. This can clearly be seen in the way the figures
\nare treated in Going to the Market (1928). In his linocuts of
\n1929, the use of block reappear in a more appropriate medium.
\nLater, he painted in various impressionistic styles, from the
\ncalmer sceneries and rural scenes, to the more expressionistic
\ndepictions of dances or rituals. His market scenes clearly
\nattempt to document his impressions of his trip. Rizek often
\npurposely avoided focusing on a particular object. He often
\nplaced the main subject just off-center in his compositions. The
\nartist further avoided focus by including insignificant figures
\nin the foreground of his paintings.<\/p>\n
Festival in Front of the Temple at Night (1929) conveys a
\nsense of mystery reflecting his reaction toward the eerie temple
\ndance. In addition to the impressions of the dancers, he includes
\nsymbolic elements which are not immediately recognizable.<\/p>\n
Rizek became a member of the Batavian Art Circle (Bataviasche
\nKunstring), and exhibited there in February 1930 with Dutch
\npainter H. van Velthuijsen.<\/p>\n
Referring to Rizek's forceful expressionistic style, a
\ncontemporary critic wrote: "he paints like an animal devouring
\nhis prey."<\/p>\n
He left after 15 months touring the islands. Four years later,
\nin 1934, he returned and traveled to Maluku as well as through
\nJava and Bali. He spent most of his time in Bali.<\/p>\n
Rizek's Indonesia paintings comprise just a small part of his
\nworks. Rizek's world travels inspired many more paintings until
\n1970. His works from these journeys have been exhibited around
\nthe world.<\/p>\n
His paintings of Indonesia are certainly an important part of
\nhis artistic development. They were displayed at an exhibition
\nentitled Impressions of Indonesia at the Vlkerkunde Museum in
\nBerlin in 1987. Not long after, in 1988, the artist passed away
\nin Vienna.<\/p>",
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