Artist Barli learns from age and experience

By Aendra H. Medita

BANDUNG (JP): Over the past six-and-a-half decades, Barli Sasmitawinata has created a body of work that has secured his well-deserved reputation as one of Indonesia's greatest painters. And this indefatigable master, who was born on May 21, 1921, continues to produce canvasses of astounding beauty, imagination and strength.

Barli was part of the famed Group of Five, which also included the artists Affandi, Wahdi Sumanta, Hendra Gunawan (all now passed away) and Soedarso. Though he has already had a storied and distinguished career by anyone's standards, Barli at the age of 80 remains a prolific painter whose work has the power to inspire and whose canvasses are coveted by art collectors, as demonstrated by his July 7 to Aug. 7 exhibition at Sriyanto Gallery in Pondok Indah, South Jakarta.

Barli began his artistic journey under the tutelage of Italian painter Luigi Bobili and Dutch master Jos Pluments in 1935.

"I really respect them as they took me into the world of arts. From them I learned the techniques and the rudiments of painting," he said.

Barli then went on and graduated from the Grande de La Chaumiere in Paris in 1950 and from the Beeldende Kunsten School of Arts in Amsterdam in 1955.

The youngest son of a trader, Raden Haji Harun Al Rasyid, Barli grew up in an Islamic boarding school. His early exposure to Sundanese culture and traditions plunged him into West Java's traditional arts. He rose to prominence playing the role of the famed Ki Lengser in a traditional Sundanese play. But shortly afterward, he abandoned the stage to concentrate on painting.

During World War II, Barli, Sudjana Kerton, Hendra Gunawan and other painters residing in Bandung joined Youths of the Republic of Indonesia, and were assigned to paint war-time events. It was here that Barli received an order from Col. Nasution, then the military commander of West Java, to design the emblem that is still worn by troops from the Siliwangi command.

In 1948, Barli established Jiva Mukti, an arts education center in Bandung, but the center was disbanded after the Asia- Africa Conference in 1955.

For a few months in 1957 he taught at Pajajaran University and the Pedagogical and Teachers' Training Institute. After a disagreement over subject matter, Barli resigned. He then taught art at his own house-cum-studio, Studio Rangga Gempol, a private art school that produced such well-known painters as Anton Huang, Popo Iskandar, Rudi Pranajaya and Chusin.

Jim Supangkat, a noted art critic, has written that Barli is without equal among Indonesian painters. "He is the only Indonesian painter who links the two development points of Indonesian painting: the art of painting during the colonization era and the modern art of Indonesian painting."

The following is an excerpt of a recent interview with the artist.

Question: At the age of 80, you are still active in painting and holding exhibitions. What motivates you?

Answer: Thank God that despite my age I keep on painting, because I really love art. This has become a very strong foundation that gives me lots of ideas and inspirations.

How do you remain consistent with and committed to your profession?

Basically, we must not feel bound by it but we must bind ourselves to it, so we can feel the love and crave it.

Have your works undergone major changes over the years?

Yes, but I stick to realism; shapes of objects are still harmonious in nature and faithfully expressed ....

Do the lines in your drawings and paintings reflect the strength of your style?

To me painting is not merely transferring an object, but also expressing the values of drawing. To draw an object, you have to think of the technical aspects. There lies the strength, be it a drawing or a painting. But the basic reality, the form of realism can change, depending on the idea.

How do you respond to "instantly made" paintings?

Generally speaking, these are made by young painters who usually believe that making abstract paintings takes only a short time. Realistic objects cannot be expressed in such a way; what lies inside must be brought to the surface. Anyway, instant painting is a shortcut for a beginner, whereas a real painter must enjoy his work, particularly the process.

So you find something enjoyable in your work?

Of course. Whenever I paint, I feel happy, joyful and free. That affects my painting style. I am never bothered by feelings of restlessness, so I am sure (my work) will be accepted by the public.

What about the themes of your paintings?

That's important. I take the themes of my paintings from ordinary people, beggars, traders in the market, noodle sellers, buskers and sometimes dancers.

Do you have any conflicts when painting?

There is no conflict because I have worked through a natural process; I started from mistakes and learned from them to gain maturity.

How do you react and respond to the current situation in the country?

As usual, for I believe that art is something that people enjoy, so it is the job of artists to lend aesthetic values to their works.

Was it your childhood ambition to be a painter?

I cannot let a day pass without painting. When I was small, I wanted to be a painter whose works were enjoyed by many people. If I get something from painting, that's only a byproduct. A painter is a reflection of his society. I'm emotionally attached to people and that's my realism and my strength.

When working with your students, what kind of teaching methods do you adopt?

They are left to their own devices. They are completely free to determine what to choose. I only give them some directives, basic techniques and accent. It is difficult to rein in artists, much more their works. Let them just move on.

Do you have any advice for young artists?

When you become an artist, be a good artist. So if you want to become a good painter, be a good painter -- or whatever career you wish to pursue: music, theater, dance or others. Always be consistent, that's my advice.