Abdul Aziz first studied social politics at Gadjah Mada University in Yogyakarta from 1951-57, but then switched to art. He graduated in 1959, from Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI). In 1959, he went to Italy on an Indonesian government grant to study at the Accademia di Belle Arti in Rome, where he graduated with Diploma di Licenza dal Corso di Pittura (1962) and Diploma di Licenza dal Corso di Decorazione (1964). He settled in Bali in 1966 and worked as a lecturer in fine arts at Udayana University in Denpasar. He participated in exhibitions in Indonesia and the United States of America.
After having grown up in the Dutch Indies, Adolfs studied architecture in the Netherlands. He returned to Indonesia around 1921, living in Surabaya. He started etching, sketching and painting around 1924. He held many solo exhibitions, both in the Dutch Indies and abroad. He traveled extensively to Japan, Italy, America and the Middle East. In 1940, he settled and spent the remainder of his life in the Netherlands. Adolfs would go through many stylistic periods, from Post-Romantic via Impressionist to Abstract.
Agus “Baqul” Purnomo graduated from the Indonesian Institute of Art, Yogyakarta. He has participated in many competitions, among others: Jakarta Art Award (Finalist), International Print & Drawing Biennale, Taiwan (Finalist), Nokia Art Award Jakarta, 1997 (Finalist); The best watercolor of The Fine Art Faculty of ISI Yogyakarta, 1997. He has also participated in many exhibitions since 1998, among others; Art @Whiteaways, VW Special Projects, The Whiteaways Arcade, George Town, Penang, Malaysia, 2013; Monumental Valentine Willie Fine Art, Singapure, 2012; Halo-halo 5 Manila Contemporary, Philippines, 2011, Exhibition, Galeri Nasional Indonesia, Jakarta, 2010; Headlight Valentine Willie Fine Art, Singapore. 2009; Tenggara, Novas Contemporary Urban Center (CUC), Liverpool, UK, 2008; Abstract Relation, Xoas Gallery, Kuala Lumpur, 2007; Terror?, Intersection for The Art,California, US, 2006. He has had some solo exhibitions, among others: Ruang Tanpa Ruang, Gelaran Budaya, Yogyakarta, 2001, Vortex 8, Tembi Contemporary Gallery, Yogyakarta, 2008.
Amrus Natalsya is a sculptor and a painter, who graduated from Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI), Yogyakarta, in 1962. Later in 1961, along with Sutopo, Isa Hasanda, Misbach, Djokopekik, Gumelar, and several others, he founded the Sanggar Bumi Tarung in Yogyakarta. He was a member of LEKRA/People's Cultural Institute. During the communist purge, followed by the abortive coup in October 1965, he was imprisoned and banned from the major exhibitions.
Bagong Kussudiardja, also a well-known choreographer beyond his painterly means, admitted that he learned how to paint from Sudiardja, Hendra Gunawan, Affandi, and Kusnadi before obtaining his formal art education at Indonesia's Academy of Fine Art / Akademi Senirupa Indonesia (ASRI) in Yogyakarta. He participated in numerous international solo and group exhibitions in ASEAN countries, Latin America, Scandinavia, Taiwan, Japan, Hongkong and some European countries. Among the awards he received were Piagam BBMKM (1959), the Gold Medal from the Pope Paul VI (1973), Satya Lencana Dwidya Setha (1975), Gold medal from the Bangladesh Government, and ASEAN awards (1987).
Bonny Setiawan studied at the Art Academy in Yogyakarta (ASRI). Both of his parents were active painters. Living in Yogyakarta, Bonny's inspiration is derived from this lively city. The thematic content of his work therefore reflects old Javanese traditions, such as herbs sellers, Javanese weddings, or Wayang Kulit. He also explores topics that could reflect the life of any large and modern city, illustrating scenes such as carnivals, the circus, mask festivals or showtime. Bonny's work is therefore defined by a typically juxtaposition of traditional and modern life to demonstrate the tensions at simultaneous play in the human experience.
Wayan Jumu is a unique Balinese painter. In the beginning, he embraced traditionalism. Then wanted to become a modern painter, so he attended the Intermediate School of Fine Arts (SMSR) in Ubud. However, later he saw that the traditionalism of Bali was actually so alluring, so he returned to traditional painting. This choice was strengthened when he befriended famous artist Ketut Budiana. This painting is one of Jumu's great achievement, because it is presented in a form that is reminiscent of a four panel comic strip.
He was praised for this work. "The works by Jumu shows subtlety and thoroughness. Therefore, although the themes that he rendered tend to appear creepy, the visualization is beautiful. (Bali Bravo, Lexicon of 200 years of traditional Balinese Painters, Bali Bangkit Foundation, Jakarta 2007). Djumu traditional painting is also recognized in the forum of contemporary art, so it appears as a finalist Jakarta Art Awards, UOB Art Awards, and others.
Dolorosa Sinaga studied art at the Jakarta Institute of Arts (IKJ) in 1977 and Central St. Martin’s School of Art, London, UK (1983). She has held solo exhibitions at the National Gallery of Indonesia, Jakarta and Manila, the Philippines.
Fadjar Sidik learned to paint in Sanggar Pelukis Rakyat during the early 1950’s. He continued his studies at the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI) Yogyakarta, where he also held the positions of Head Painting Department and Assistant Director. From 1957-1961 he stayed in Bali, forming good friendships with Alimin, Widodo, and O.H Supono. He has been awarded Anugerah Seni as Contemporary Painters from the local government of Yogyakarta.
Fadjar Sidik learned to paint in Sanggar Pelukis Rakyat during the early 1950’s. He continued his studies at the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI) Yogyakarta, where he also held the positions of Head Painting Department and Assistant Director. From 1957-1961 he stayed in Bali, forming good friendships with Alimin, Widodo, and O.H Supono. He has been awarded Anugerah Seni as Contemporary Painters from the local government of Yogyakarta.
Faizin is a self-taught artist. He started to exhibit his works in several cities in Java, Indonesia. Jatim Art Now, The Galeri Nasional, Jakarta, 2012; Jakarta Art Award Dunia Ideal, 2012; Jatim Art Now, Galeri Soemardja ITB, Bandung, 2012; Asian Art Mosaic, Windsor Ballroom The Goodwood Park Hotel Singapore, 2006; Bulan Purnama, Galeri Canna, Jakarta, 2006; Heart To Heart, Ballroom Hotel Mulia, Jakarta, 2001; Kecil Itu Indah 8, Edwin Gallery Jakarta, 2000; Sekuntum Asa Untuk Milenium Tiga, WTC, Jakarta, 2000; active in many group exhibitions in Java and Bali, 1996-1998. He has received the Finalist The Phillip Morris Indonesian Art Award VI at the Galeri Nasional, Jakarta, 1999.
Nyoman Gunarsa is a graduate of the Indonesian Academy of Fine Arts (ASRI) in Yogyakarta, where he was also a lecturer for many years. In 1970, he was one of the co-founders of Sanggar Dewata Indonesia. He has received multiple awards since the 1960s, including the Pratisara Affandi Adhi Karya from STSRI “ASRI” Yogyakarta; Best Painting Award at the Indonesian Painting Biennial in 1978 and 1980; Lempad Prize awarded by the Governor of Bali. Gunarsa has participated in dozens of exhibitions throughout Indonesia, Japan, Malaysia, Singapore, Australia, U.S.A, Germany, the Netherlands, France and Italy. He was one of the invited artists at the Art of Bali exhibitions, the East-West Center in Honolulu, Hawaii, in 1998. He established the Museum of Contemporary Indonesian Painting in Yogyakarta in 1989, and the Museum of Classical Balinese Painting in Klungkung in 1994. His expressionistic style feature offerings, dancers, and wayang (puppets).
He studied painting in Surakarta Culture Association under Dullah, and has participated in many exhibitions in ASEAN countries. His solo exhibition was in Taman Ismail Marzuki in 1979. One of his paintings, 2.5 by 19 m size, was exhibited in Asean secretariat building in Jakarta.
He was educated from the Government HIS and MULO, then went into Taman Siswa university. Dukut Hendronoto was his 1st teacher, Yazir Marzuki, etc. Then he got guidance from Basuki Abdullah, S. Sudjojono, Agus Djaya at Keimin Bunka Shidosho and along with that, he learnt in Poetra (Pusat Tenaga Rakyat). And he also participated in Gabungan Pelukis Indonesia with a few artists, such as Zaini, Trisno Sumarjo, Sutiksna, Nashar, Suparto, Basuki Resobowo, Affandi, Nasyah Djamin dan Sudarso. At Yogyakarta he participated with Pelukis Indonesia Muda which most of the participants came from ASRI, such as Widayat, Sayogo, Rais Ra'yan, Saptoto, Sidharta and Sukandar. He is so active to exhibit at Yogyakarta, Jakarta, Bandung, Surabaya and Denpasar. His exhibitions were organized by Departemen P & K in North Sumatra, continent of East Europe, Brazil, India and Singapore. Exhibition for 25th years old PBB in New York.
Hasan Djaafar first studied under the tutelage of renowned Indonesian landscape painter Wakidi. He later traveled to Europe where he was influenced by impressionism and expressionism. Hasan Djaafar first studied under the tutelage of renowned Indonesian landscape painter Wakidi. He later traveled to Europe where he was influenced by impressionism and expressionism.
Irsam studied painting at the Indonesian Fine Art Academy Akademi Seni Rupa Indonesia/ASRI) in Yogyakarta. His main source of inspiration is the wayang kulit (leather shadow puppet) theater. He held his first exhibition in 1967 in Jakarta, and by 1974 he received an award from the Jakarta Art Council. In addition to exhibitions in Indonesia, he has taken part in shows in Malaysia, The Philippines, Singapore, and Thailand. In 1980, Isram participated in the Contemporary Asian Art Exhibition held at Fukuoka Art Museum in Japan.
In 1953-1955 Jeihan Sukmantoro studied painting at HBS/Himpunan Budaya Surakarta under the guidance of Sumitro Hendronoto. From 1960-1966, he studied painting at ITB (Bandung Institute of Technology). He has had solo exhibitions in Jakarta, Bandung, Solo and Surabaya in Indonesia, Rome (Italy) and Paris (France). He has participated in numerous group exhibitions in Indonesia, United States of America, Algeria, the Netherlands and Switzerland. In 1978, he established the Studio Seni Rupa Bandung (Bandung Fine Arts Studio) with Dr. Sudjoko.
Krijono was born into a family interested and passionate about Art. His father was a collector of paintings and owned the Harris Art Gallery; his mother owned a Batik factory. In 1970, he studied at the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI) Yogyakarta. His artworks are often brightly colored and express his own flamboyant personality.
In 1916, Lee Man Fong's family moved from Canton to Singapore. He began his studies in painting at Singapore. In 1932, he moved to Jakarta where he started an advertising agency and worked as a commercial artist. In 1941, he visited Bali and painted there for a brief period. In the same year he had a solo exhibition in Jakarta. In 1947, he was awarded the Malino grant by the Dutch Governor-General to study painting in Holland, where he stayed until 1952. He traveled widely during those years and held several solo exhibitions. In 1955, he founded the Yin Hua artists association, and served as Chairman. He became a Presidential Palace painter for the former Indonesian President Soekarno in 1961, and he also compiled the 5th volume edition of President Soekarno's art collection.
As a child, he wrote children's stories which were published in Sinar Deli, a Medan-based newspaper. When he was an adolescent, he often trekked into the jungles of Sumatra. He later wrote that two events during this period, seeing a well-built yet abandoned hut and having a close call with a tiger, served partly as his inspiration for Harimau! Harimau! (Tiger!, Tiger!).
After graduating from high school, he worked as a teacher in Nias, North Sumatra. However, after a year he left for Batavia, where he worked at a bank. When World War II broke out and the Japanese occupied Indonesia in 1942, Lubis began working for the Japanese, translating international news for the Japanese army.
After Indonesia declared its independence in 1945, Lubis joined the Indonesian news agency Antara as a reporter. With Antara, he covered the Asian Relations Conference in 1947. During this same period he wrote Jalan Tak Ada Ujung (The Road Has no End) and joined the Indonesian Visual Artists Association.
In 1949, he co-founded Indonesia Raya, later serving as the daily's chief editor. His work there led to him being imprisoned numerous times for his critical writing, including in Madiun, East Java, from 1957 to 1966. In 1955, while he was editor there, he hosted the African American author Richard Wright during his three weeks in Indonesia to attend the Bandung Conference. Indonesia Raya published several articles related to Wright during April and May 1955.
On 4 February 1975, he was arrested in relation to the 1974 riots during the visit of Japanese Prime Minister Kakuei Tanaka;Indonesia Raya was also shut down not long after the riots due to their reporting of the Pertamina corruption scandal. He spent over two months in Nirbaya prison without trial and was released on 14 April 1975. He noted that other prisoners, such as former Indonesian Air Force chief Omar Dani, had been imprisoned without trial for years. During his time there, he became an avid practitioner of yoga.
He founded and co-founded numerous magazines and foundations, including the Obor Indonesia Foundation in 1970, Horison magazine, and the Indonesian Green Foundation. He was also outspoken about the need for freedom of the press in Indonesia[5] and gained a reputation as an honest, no-nonsense reporter. In 2000, he was named as one of the International Press Institute's 50 World Press Freedom Heroes of the past 50 years.
After a long struggle against Alzheimer's disease he died in Medistra Hospital on 2 July 2004 at age 82. He was buried next to his wife in Jeruk Purut Cemetery. His funeral was attended by hundreds, including journalists and writers Rosihan Anwar and Ramadhan K.H.
In 1958, Lubis shared the Ramon Magsaysay Award for Journalism, Literature, and the Creative Communication Arts with Robert Dick, a publisher.
Lubis's novel Harimau! Harimau! was named Best Book by Yayasan Buku Utama, a part of the Indonesian Ministry of Education and Culture, in 1975, and received an award from Yayasan Jaya Raya (parent organization of the publisher Pustaka Jaya) in 1979.
Nasirun studied at the Indonesian Institute of Arts (Institut Seni Indonesia/ISI) of Yogyakarta, 1987-1994. He received awards for the best sketches and paintings from the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI, his pieces were selected as one of the five best paintings at Yayasan Seni Rupa Indonesia (Indonesian Fine Arts Foundation)-Philip Morris Indonesian Art Award, and he entered the ASEAN Art Awards in Manila, The Philippines. He held his solo exhibitions at the Galeri Nasional Indonesia (Indonesian National Gallery) in 2000, and participated in Soul Ties Exhibition in the Singapore Art Museum.
Popo Iskandar began painting in 1944 as a poster painter for the information service in Indonesian Armed Forces. In 1958, he graduated from the Department of Art in Bandung Institute of Technology/ITB). He was a lecturer assistant at ITB from 1957 to 1961, and additionally lectured in the Art Department of IKIP/Teacher's Training Institute, Bandung for many years. He held several solo exhibitions in Jakarta, Yogyakarta, Medan (Indonesia), the Hague and the Leiden (The Netherlands). He participated in numerous group exhibitions in Indonesia, China, UK, India, Japan, America, Netherlands and Brazil. Popo was also an art critic and essayist of art and literature. He was chosen as a lifetime member of the Jakarta Academy in 1970. He received the Anugerah Seni Art Award from the Indonesian Government in 1980.
He first learned to paint from I Dewa Ketut Rungun. In 1956 he joined the Golongan Pelukis Ubud association led by Rudolf Bonnet. Presently, he senses the growing freedom in pursuing the art of painting while remaining within the boundaries of Balinese traditional painting. And he sticks to the theme of wayang. With the freedom, he eventually can paint in the style and with the thematic interpretations that suit him. Museum Puri Lukisan, Ubud, Museum Neka, Ubud, Museum Arma, Ubud and Tropenmuseum, Amsterdam have his works in their collection.
Baybay graduated from Institut Kesenian Jakarta majoring in Graphic Art in 2005. Art experiences: 2011 solo exhibition “Cyclture” at Grand Indonesia - Level One. Grup exhibition “Jalan Bersatoe @ Bintaro Sektor 9 Jakarta. Group Exhibitions; 2010 FART - Art in Cycle Culture @ Cyclo bike - Aksara Kemang, Jakarta; RuangRupa Hanya Memberi Tak Harap Kembali; PostKart Exhibition @RURUgallery; Ruru shop project mix tape, collaboration with Andi RHARHARHA; Ex-it exhibition at TIM, collaboration with Andi Rharharha; RuangRupa Hanya Memberi Tak Harap Kembali; Tomorrow's Parties; Tribute To Velvet Underground at Museum of Mind, Surabaya; Respecta Street Art exhibition Poster Propaganda @chic Music Building Jakarta.
In 1946 he started painting under the painter S. Sudjojono in Sanggar Indonesia Muda (Young Indonesian Artists Association), Madiun. In the 1950s he used a naturalistic style which afterwards changed to impressionistic. He actively participated in several exhibitions in Indonesia and abroad. He lived in Surabaya and died in the year of 1990.His works appear in the collection of the late President Soekarno.
Until he passed away in Paris over a decade ago at the age of 100, the Indonesian artist Salim had lived there since 1957, and also for a few years in the 1920s. Therefore, he will always be considered as “our man in Paris”.
In a 1946 Merdeka weekly article it is said that nobody knows where Salim came from. It mentions that he emerged in Holland as a young foster child of a former planter from Deli, East Sumatra. Even to his closest friends he never revealed who he really was. An article published in 1956 mentions that he was born in Medan, North Sumatra on 3 September 1908. He left for Europe in 1912.
After completing his high school studies at Arnhem, he left his foster parents to pursue his interest in art. In particular, he was a believer of “l’art pour l’art” (art for art’s sake), and therefore he was bound for Paris. When he arrived in Paris with very little money, he was faced with the reality that becoming an artist was not as easy as he imagined. Therefore, he had to accept a job as a doorman at the Académie de La Grande Chaumière, an art academy. Due to his handsome appearance, the owner of the academy, apparently a French aristocratic lady, eventually allowed him to study there. Not only did he not have to become the guard to the entrance and do the chores of a porter anymore but he also became one of the favorite students of the owner of the academy. The following year, 1929, he attended Académie Léger, an academy that Fernand Léger set up with his colleagues and friends, including Amédée Ozenfant, where art students could study art, free of charge.
After his adventures in Paris he returned to Amsterdam and became acquainted with Indonesian students there, among others Mohammad Hatta and Sutan Sjahrir. They often discussed matters about art, culture, and society. This sparked his interests towards his home country. He intended to visit the Netherlands Indies, where he hoped to propagate his ideals of “l’art pour l’art”.
In the early 1930s Sjahrir's brother-in-law, Djoehana Wiradikarta, obtained his medical degree in Holland and was returning home with his family. By working as the caretaker of Djoehana’s children during the journey, Salim was able to join them to the Indies. In Batavia, he worked at an advertising company called the Java Neon Company. He also assisted Sjahrir and Hatta both at their PNI-Pendidikan party and the Daulat Ra'jat magazine. The two prominent politicians were eventually exiled to Boven Digoel, and this left Salim to introspect. Throughout his stay in the Indies, he faced the grim reality that it was under colonial rule. Whereas in Europe he lived as an equal to others, in his own home country he was subject to the colonial social structure that was based on racial classification. He faced discrimination and subordination, something that he had not experienced before. Therefore, he decided to return to Europe. “I prefer to die hungry in the artistic center of the world, rather than to live full of abundance in a colonized land, feeling depressed,” he said later.
He started exhibiting in Holland. After World War II, disappointed with the Netherlands return to claim Indonesia as its colony, the artist moved to Sète, a town in France. He held his first solo exhibition there in 1948. In October the following year, Salim held a solo exhibition at the M. L. de Boer Gallery. The show was attended by the Indonesian delegation who came to Holland for the Round Table Conference held in The Hague that year, which led to the Dutch recognition of Dutch sovereignty.
In this exhibition, Salim received praise from Dutch critics. “It is clear that in a part of his works exhibited, Salim underwent the influence of Raoul Dufy, the French painter. The strong colors radiate joy, healthy optimism,” writes one critic. “This artist from ‘the belt of the emerald around the equator’ has the view of a European painter. There is nothing in this work that reminds us of the land of his birth... he has a personal perspective on what inspires him to paint, while the sun's glow from his native country appears to accompany him on his many wanderings through Europe and thereby lends his art a special charm,” writes another.
Salim decided to visit his home country, now a new republic, once again. In Indonesia, his solo exhibition was first held in 1951 with the support of the Foundation for Cultural Cooperation, featuring his paintings all done in France. The show was opened by Sjahrir, who mentioned that he had known him for a long time. He said that during that time, while he himself was still unsure about his purpose in life, Salim had already known that his life would be a balance of beauty, justness, and honesty, and that is what we can see through his works in the exhibition. Critic Trisno Sumardjo said that we have look at Salim’s art in context. It would not be appropriate to expect to see Eastern, nationalist nor proletariat values in his works. instead, if we view them using universal values, we can see that the world he reveals is beautiful, as he is an artist without prejudice nor pretense, a true modernist.
In 1956 Salim exhibited at the Balai Budaya, presenting the works he made during his stay in Indonesia. Fellow artist Baharudin Marasutan wrote that he found the painting Bunga (1950) most attractive. Baharudin wrote that he hoped that Salim’s visit to Indonesia would be useful towards his further artistic development in Europe.
From 1957 until his death in 2008, Salim lived in an apartment in the city of Neuilly-sur-Seine near Paris. He did become quite a successful artist, exhibiting in Europe every few years in the 1950s to the 1970s. In the 1970s he won prizes and medals from art festivals in which he participated. He returned to Indonesia to exhibit his works in Jakarta and Bandung in 1974 and 1990. Later he exhibited in Bali in 2001 and Osaka in 2002. As Salim has lived in Europe for most of his life, he is still considered an Indonesian artist, but as he has lived for over 60 years in Paris, he will always be considered as “our man in Paris”.
Now, we have a good opportunity to exhibit and auction some of the remaining works available by “our artist in Paris”, the late Salim. Most of the paintings featured here are works done towards the end of his life, yet still very much shows his mastery of his profession as a painter. There are also some works from the 1970s and 1980s that are astounding. We hope that this brief introduction to Salim and his works will be appreciated by our art enthusiasts here in Jakarta.
Sidharta Soegijo studied at the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI), Yogyakarta (1953), and then continued at the Jan van Eyck Academy in the Netherlands (1957). He taught at the Fine Arts Department of the Institute of Technology Bandung/ITB from 1965-97. From 1970-73 he also taught at the IKJ/Jakarta Institute of the Arts. He has had solo exhibitions in Jakarta, Bandung, Yogyakarta, and Magelang, and has participated in numerous joint exhibitions in Indonesia, Singapore, Thailand, Japan, India, Poland and Norway. His awards received include Best Painting by the Badan Musyawarah Kebudayaan Nasional in 1952; Indonesian Government Art Award in 1980; winner of the Tanjung Priok Harbour Monument competition in 1980; Best Sculpture awarded by DKJ/Jakarta Arts Council in 1986; and ASEAN Cultural Award in 1990. He has created numerous public monuments and sculptures in Indonesia, Korea, Philippines and Japan. He retired from teaching at the ITB in 1997, and became the Chairman of the Indonesian Association of Sculptors/API from 2000-2003.
Along with S. Sudjojono, Trisno Soemardjo, Sunisyo and D. Suradji, Soedibio founded the Young Indonesian Artists Association (Seniman Indonesia Muda/SIM) in Madiun 1940. Later in 1967, he joined Sanggar Puring at Surabaya in association with Wiwiek Hidayat, Karyono and Tedja Suminar. He became a member of the Himpunan Budaya Surakarta in 1970. He held an exhibition with Soediarjo at the Taman Ismail Marzuki in 1976. He worked in a distinctively personal mystical-decorative style, and was very influential to the development of Yogyakarta’s Decorativism.
Soki is one of the many popular painters from the Balinese Young Artists group. His works are unique and brightly coloured. His art is distinguished by an ornamental and symmetrical design of figures in his composition. Soki has received an award from The Young Artist Exhibition, in Paris, France. He has participated in the Bali Art Festival at Taman Budaya (Denpasar), as well as various exhibitions in Jakarta and abroad. This includes the Art of Bali exhibition at the East-West Centre, Honolulu-Hawaii, in 1988.
Sudarso studied painting with Affandi, Barli, and Hendra Gunawan. He was a member of PUTERA (Central People's Force) in Yogyakarta. Together with Affandi, they founded Himpunan Pelukis Masyarakat, which developed into Himpunan Pelukis Rakyat. He was a lecturer at the Indonesian Academy of Fine Arts (ASRI) in Yogyakarta. He has participated in exhibitions in Jakarta, Yogyakarta, Denpasar, Bandung, Malaysia and Singapore.
Sudjono Abdullah, son of Abdullah Suriosubroto, is well known as a landscape painter. A graduate of HIS, he worked as a drafter for the Rex Theatre in Yogyakarta, though also received special order paintings. During the Japanese occupation of Indonesia, he developed his skill at Parangtritis beach in Yogyakarta. Later, Abdullah moved to Salatiga, where he met with Ho Liong Hwie, who gave him the assistance and motivation that led him to become confident and ultimately famous for his landscapes.
After Sumardi finished Dutch schooling (1937), he worked primarily as a professional painter, specializing in portraits and drawings. When an American artist and painter, W. Stoyed, visited the Sunan's palace in Surakarta in 1938 to make drawn portraits for the Sunan's family members, Sumardi worked for him as his assistant. From this foreign artist, Sumardi gained artistic insights about European realism, particularly the technique of drawing human anatomy. Sumardi was then known as a realistic artist with an exclusive romantic touch. Some of his works have decorated the walls of state palaces in Jakarta and Bogor. One of his works was included in the album (Book IV 1957) documenting the painting collection of President Soekarno (Compiled by Lee Man Fong). He has participated in many painting exhibitions in Solo, Semarang, Surabaya, and Jakarta, mainly organized by the Surakarta Cultural Center (Himpunan Budaya Surakarta).
Putu Sutawijaya was educated at the Indonesian Fine Art College (Sekolah Tinggi Seni Rupa/STSR), Denpasar, Bali and continued his studies at the Indonesian Art Institute (Institut Seni Indonesia/ISI) Yogyakarta, graduating in 1997. He has participated in numerous group exhibitions and had solo exhibitions in Yogyakarta and Jakarta.
During the Japanese Occupation (1942-1945), Trubus Soedarsono studied painting with Sudjojono and Affandi in Jakarta. He was a member of the SIM/ Young Indonesian Artists and Pelukis Rakyat / People's Painters groups in Yogyakarta during the Revolution and produced anti-Dutch propaganda posters. In 1948 he was captured and imprisoned by the Dutch for his revolutionary activities. After his release, he became a lecturer at ASRI / Indonesian Academy of Fine Arts in Yogyakarta from 1950 to 1960. In 1954 he was invited to visit Czechoslovakia on a cultural mission. Soedarsono was later appointed as a member of Yogyakarta's regional government in 1958. In 1966, the artist was killed during the purge which followed the aborted communist coup in September 1965.
Wahyu Santosa graduated from the Yogyakarta Art Institute, in the Faculty of Fine Arts, Sculpture Department, in 2000. While he was a student in Yogyakarta (1991-1995), he often participated in the sculpture and painting exhibitions within and outside of campus. From 1995 - 2000 he joined the Yogyakarta Satiaji Studio. He was highly involved in many projects, ranging from monuments and museums for the government, to assignments by private patrons. In 2000, he left Satiaji Studio and began to seriously concentrate on his personal production of art. He actively participates in group and solo exhibitions within Indonesia.
Widayat began his artistic career by painting picturesque landscapes in the Mooi Indie tradition for the tourist market of Bandung. During the Revolution he was an officer in the Indonesian armed forces, involved in intelligence work in South Sumatra. His war-time activities included making anti-Dutch propaganda posters and organising dramatic performances to drum up nationalist fervour. Widayat was among the first batch of students at the Indonesian Fine Art Academy (Akademi Seni Rupa Indonesia/ASRI), Yogyakarta. He graduated from ASRI in 1954, and then became a lecturer there, remaining a staff member until he retired in 1988. He co-founded the artist group PIM / Young Indonesian Painters in 1952. In 1960, he went to Japan for two years where he studied traditional gardens and ceramics. The Indonesian Government presented him with the Anugerah Seni Art Award in 1972. Other awards received include First Prize at the First Indonesian Biennial in 1974; an award at the Yogyakarta Biennial in 1986; Lempard Prize awarded by Sanggar Dewata Indonesia in 1987; the ASEAN Art Award in 1993; and the Budaya Upa Pradana from the Government of Central Java in 1994.