Relevant bibliographies by topics / Indonesian Painting

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Indonesian Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Indonesian Painting"

1

Utari, Shela Dwi, Reza Hudiyanto, and Deny Yudo Wahyudi. "The Concept of Love of Country in 19th-Century Painting." Yupa: Historical Studies Journal 8, no. 1 (March 3, 2024): 240–49. http://dx.doi.org/10.30872/yupa.v8i1.2936.

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Love for the country does not only focus on the physical resistance carried out at that time but can also take other forms. In this case, painting artists realized their love for their homeland through visual aspects. This research explores the forms of the concept of love for the country in Indonesian painting, especially in the 19th century. This research uses the historical method with five stages: topic selection, heuristics, source criticism, interpretation, and historiography. The result of this research is that paintings in the 19th century illustrate the concept of patriotism as seen from the objects depicted. The object of the painting is not only fixated on the role and power of the colonial nation but also gives the impression that the Indonesian nation also has a role. This can be seen from some of Raden Saleh's paintings such as Daendels' potert, the painting Between Life and Death, and the painting of Prince Diponegoro's arrest, which gives the meaning that Indonesians also played a role in historical events that occurred at that time.
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Andika Putra, Emasyah, and Erfahmi Erfahmi. "PDRI DALAM KARYA SENI LUKIS." Serupa The Journal of Art Education 10, no. 4 (December 28, 2021): 316. http://dx.doi.org/10.24036/sr.v9i3.112256.

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The purpose of this painting with the PDRI idea is to visualize a heroic event that is starting to be forgotten. The method of creating painting works through stages (1) Preparation, (2) Elaboration, (3) Synthesis, (4) Realization of concepts, and (5) completion. Ten paintings about heroic events of PDRI were created. The whole work tells about the synergy between the community guerrillas and the PDRI to expel the Dutch and gain Indonesian sovereignty. This painting is an interesting medium to identify the history of PDRI. Besides, this work is also expected to be a motivation in appreciating the history of the Indonesian nation.Keywords: PDRI, Indonesian Republic,art painting
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (November 12, 2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.

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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Ni Ketut Wiriani Merta, I Putu Sudana, and Yohanes Kristianto. "Benefits of Wayang Kamasan Klungkung Bali in Improving Dignified Cultural Character and Sustainability of International Tourism." Jurnal Multidisiplin Madani 3, no. 9 (September 29, 2023): 1898–901. http://dx.doi.org/10.55927/mudima.v3i9.4861.

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So great is the importance of the meaning of Kamasan paintings as previous writers have explored the uniqueness and attractiveness of kamasan klungkung paintings. Wayang art is very full of meanings as in the study of writing: The Role of Painting as a Critical Media in the Industrial Revolution Era (Gusti Agung Widia Widyasari), namely painting is not a display item but as an intermediary for imformation and criticism, then the study unravels the meaning of Kamasan puppet painting in Puri Klungkung (Tzabit Azimer Ahmad) which peels Kamasan paintings telling books such as Adiparwa, Tantri, Sutasoma, and the lives of the Gods.Then the teachings of Hinduism as inspiration for the creation of traditional Balinese painting works (Wayan Agus Gunada). Painting is part of the art of Kamasan puppet art has unique cash characteristics such as natural forms, folklore, mythology and Hindhu religious teachings, which are manifested in the forms of symbols in it that are thick with spiritual value. Painting is not only as a display material but also as a material for forming human characters. Because in puppets there are good teachings and bad teachings. In puppets there are ways of behaving, ways of thinking, ways of dealing with life are all contained in puppet stories. Positive characters bring peace while negative characters bring misery. For example, Ravana, a puppet character who has a great lust that cannot hold back his ego, then makes all people miserable, Korawa who loba makes the entire palace miserable. Likewise, the wise character of Rama, the wise admiral character can be used as an example in behaving in everyday life. The reason for this research is to preserve traditional art assets as one of the wealth of the Indonesian nation (Bali). To introduce Indonesia in international especially tourism. While the uniqueness of painting is: 1 as the meaning of life / philosophical learning. 2 Wayang paintings have survived until now not extinct 3, puppet paintings as an economic breakthrough of the community, 4 Puppet paintings of ancestral assets, 5 Wayang paintings as friends of tourism to come to Indonesia.Almost all corners in the Sangging Kamasan Klungkung Bali banjar, there are puppet painting galleries that are ready to welcome tourisms visiting Indonesia, especially Bali. Great services of classical puppet painting or Balinese Traditional Paintings as a loyal friend of tourism, so that Indonesia can get acquainted with international countries because of the contribution of this classic puppet painting service (Balinese Traditional Paintings)
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.

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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Pandanwangi, Ariesa. "komparasi karya seni lukis MOOI Indie Antara Seniman Indonesia dan Seniman Dari Barat Periode 1930-an." Jurnal Budaya Nusantara 2, no. 2 (March 1, 2019): 305–11. http://dx.doi.org/10.36456/b.nusantara.vol2.no2.a1968.

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The purpose of this study is to compare the 1930s indie mooi painting works between Indonesianartists and western artists. The samples of this study were paintings of Indonesian artists andWestern artists made in 1930s. Each work of these artistsis selected to represent his period. Hiswork is, therefore, analyzed using Feldman's theory. The results of this study show that manyartists' creative ideas are inspired by the scenery of Indonesia. These creative ideas lead to themesemerged which visualizing fields and mountains on their indie mooi paintings. The primarilyreason of visualizing the beautiful scenery on their paintings is that these paintings are intended tofavourEuropean communities living in Java. Another result of the study is that paintings at thattime still used traditional techniques and media, oil paint on canvas and the colours used aremostly bright.
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Pandanwangi, Ariesa. "komparasi karya seni lukis MOOI Indie Antara Seniman Indonesia dan Seniman Dari Barat Periode 1930-an." Jurnal Budaya Nusantara 2, no. 2 (March 1, 2019): 305–11. http://dx.doi.org/10.36456/jbn.vol2.no2.1968.

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The purpose of this study is to compare the 1930s indie mooi painting works between Indonesianartists and western artists. The samples of this study were paintings of Indonesian artists andWestern artists made in 1930s. Each work of these artistsis selected to represent his period. Hiswork is, therefore, analyzed using Feldman's theory. The results of this study show that manyartists' creative ideas are inspired by the scenery of Indonesia. These creative ideas lead to themesemerged which visualizing fields and mountains on their indie mooi paintings. The primarilyreason of visualizing the beautiful scenery on their paintings is that these paintings are intended tofavourEuropean communities living in Java. Another result of the study is that paintings at thattime still used traditional techniques and media, oil paint on canvas and the colours used aremostly bright.
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Cox, Matt. "The Painting of Prostitutes in Indonesian Modern Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 2 (2017): 41–63. http://dx.doi.org/10.1353/sen.2017.0013.

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Ni Made Ariani. "Classical Painting of Wayang Kamasan to be UNESCO Intangible Cultural Heritage." Bali Tourism Journal 6, no. 1 (April 1, 2022): 17–20. http://dx.doi.org/10.36675/btj.v6i1.74.

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In the past, Balinese artists have been perfecting their skills in arts as an expression of gratitude to the Higher being or as a service to the community. One of the classic painting styles that endured through time in Bali since the days when King Anak Wungsu reigned. The classic art is the painting style from Kamasan village, Klungkung, known as Lukisan Wayang Kamasan or Kamasan Shadow Puppet Painting. Kamasan puppet painting is an expression of Wayang performance, composed into a 2-dimensional painting. The method of storytelling in the form of painting developed rapidly during the reign of ancient Bali, especially by the people who lived in the Kamasan village of ??Klungkung. The steps in determining the layout of the image, the drawing process, color making, and the coloring process of the Kamasan puppet painting are still used traditionally. The Indonesia Education and Culture ministry announced the submission of the Wayang Kamasan painting to UNESCO in early February 2022. This submission is a re-submission after the Kamasan puppet painting was proposed as an Intangible Cultural Heritage in 2018 by the Indonesian Government. However, the submission of the Kamasan Wayang painting as an intangible cultural heritage in 2018 was rejected because the documents were incomplete. The purpose of the protection in this convention is for art preservation, especially, for future generations. It means that anyone can use it, not just the group to whom the recognition of ownership of the intangible cultural heritage is given.
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Gadis Putri Maharani, Ni Made. "REPRESENTASI MOTIF PENDUKUNG LUKISAN KAMASAN KERTHA GOSA PADA BATIK DALAM BUSANA MODIFIKASI BALI DENGAN TEKNIK ZERO WASTE." Batarirupa: Jurnal Pendidikan Seni 3, no. 1 (April 30, 2023): 1–20. http://dx.doi.org/10.59672/batarirupa.v3i1.2655.

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Kertha Gosa is a courthouse inherited from the Semarapura Palace. There are three relics of the Semarapura Palace, namely, Bale Kertha Gosa, Bale Kambang, the Semarapura Museum building with a European architectural style which was previously a former Dutch school. Interestingly, in every Kertha Gosa building, there are various kinds of Kamasan paintings which are often associated with Balinese historical stories. This painting has a very prominent characteristic and each painting has a deep meaning or philosophy. The Kamasan painting found in the Kertha Gosa building is a source of ideas for batik motifs as a material for making casual clothes combined with Balinese modifications. Creation methods include methods of data collection, data analysis, work design, and work embodiment. The application of the creation method is used to strengthen the concept from observation to the realization of the work. The making of this work also uses a technique, namely Zero Waste. In the world of fashion, the Zero Waste technique is a movement to reduce or make clothing without producing textile waste in it. The entire work has a different title from the simple depiction of the Kamasan painting found in the Kertha Gosa building which has unique characteristics and meaning. This work was made with the aim that the Indonesian people know, do not easily forget and love history - history or culture that they have.
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Dissertations / Theses on the topic "Indonesian Painting"

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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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Dudley, Jennifier Ann. "Traversing the boundaries? Art and film in Indonesia with particular reference to Perbatasan/boundaries: Lucia Hartini, paintings from a life." Thesis, Dudley, Jennifier Ann (2006) Traversing the boundaries? Art and film in Indonesia with particular reference to Perbatasan/boundaries: Lucia Hartini, paintings from a life. PhD thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/708/.

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The repressive political conditions of the New Order state and the social dislocation caused by rapid industrial and technological development unquestionably affected the nature of artistic and cultural production in Indonesia. This thesis considers the dynamic of these conditions within a focused long-term study of the art and life of Indonesian "Surealis" painter, Lucia Hartini. My doctoral dissertation comprises this thesis and the forty-two minute documentary film Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) which I filmed in Indonesia and presents Lucia Hartini and her art in the context of her times from the historical standpoint of Reformasi and millennial change. Art historically, this thesis informs us of a wider journey, that of selected twentieth century Indonesian contemporary artists exploring concepts of simulacra, hyper-reality, the meta-real and the surreal through the stylistic use of photo-realism. Lucia Hartini is known for her "Beautiful Surrealism". A founding member of the "Surealis Yogya", formed in 1985, she was the only woman from the original group to continue painting professionally from the late 1970s, throughout the New Order, and into the era of Reform. The consideration of Lucia Hartini's work in this thesis acknowledges the gradual shift in her concerns. Lucia's paintings respond to her natural and social environment, as well as to the challenges and dramatic changes in her life. This thesis charts the journey of her artistic maturation, so richly embodied in her third solo exhibition, "Irama Kehidupan / The Spirit of Life", in January 2002. Through a critical commentary on paintings selected from her oeuvre and the textual analysis of Perbatasan / Boundaries, I discuss Lucia Hartini’s subject matter, unique systems of image formation and use of detail, her particular contribution to the characteristic qualities of Indonesian "Surealisme". I regard the techniques, conceptual approaches and processes of filmmaking as intrinsic to this exploration, a methodological perspective arising from Hendro Wiyanto (2001) observation that Indonesia's "Surealis" artists present us with "reality bundled as a dream". Lucia Hartini’s work raises questions of gender and personal transformation. This thesis argues that, for many years, the tensions created by the contrary forces of political repression and social transformation characterising much of New Order Indonesia, were reflected in her art. In a microcosmic-macrocosmic sense, Lucia and her art quietly contributed to attitudinal and social change in Indonesia. Works painted between 1986 and 1996 autobiographically chart a shift from personal distress to a growing sense of empowerment, followed by life-changing spiritual growth. I contextualize these paintings socially by studying the changing interstices between Lucia Hartini’s private life, her professional creative practice and the public persona she adopted in Indonesia’s emergent civilian society. My approach is informed by a conceptual framework based on difference, hybridity and its transformations, on the psychology of borderlands, negotiation and the transcendence of boundaries, witnessed through a study of the spiritual practice and quest for religious tolerance important to Lucia and evident in her art. This thesis reveals those boundaries which were transcended and those which remain negotiable. Twice filming Lucia Hartini’s art, I was also affected by the dramatically different conditions of production prevailing in 1992 in New Order Indonesia and those possible between 1999 and 2001 during Reformasi. These differences are highlighted in the textual analysis of Perbatasan / Boundaries. Engaging comparisons between contemporary Indonesian art and Indonesian documentary and feature films, I discuss important attempts to solve the problems associated with restrictions on freedom of expression in paintings made prior to Reformasi. I consider the different uses of figurative realism to depict subjects deemed controversial by the state, and the creation of credible representations in art and convincing characterisations in filmmaking. The dramatically real yet poetic work of the Indonesian Neo-realist filmmakers of the 1950s exemplified one such solution. Their films and ideas prompted comparisons with the photo-realism, poetic intent and dramatic juxtapositional image making of the "Surealis Yogya". The relationship I perceive between Neo-realist cinematic practice and contemporary international documentary filmmaking encouraged me to make a documentary about Lucia rather than a purely creative or experimentally surreal work. Because of Reformasi and the changes wrought by Lucia’s personal development, Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) is the documentary which my first short experimental video, Pusaran / Vortex: From the Kitchen to Outer Space (1992 - 1993), made during the New Order, could not be.
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Dudley, Jennifier Ann. "Traversing the boundaries? Art and film in Indonesia with particular reference to Perbatasan / boundaries: Lucia Hartini, paintings from a life." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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The repressive political conditions of the New Order state and the social dislocation caused by rapid industrial and technological development unquestionably affected the nature of artistic and cultural production in Indonesia. This thesis considers the dynamic of these conditions within a focused long-term study of the art and life of Indonesian “Surealis” painter, Lucia Hartini. My doctoral dissertation comprises this thesis and the forty-two minute documentary film Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) which I filmed in Indonesia and presents Lucia Hartini and her art in the context of her times from the historical standpoint of Reformasi and millennial change. Art historically, this thesis informs us of a wider journey, that of selected twentieth century Indonesian contemporary artists exploring concepts of simulacra, hyper-reality, the meta-real and the surreal through the stylistic use of photo-realism. Lucia Hartini is known for her “Beautiful Surrealism”. A founding member of the “Surealis Yogya”, formed in 1985, she was the only woman from the original group to continue painting professionally from the late 1970s, throughout the New Order, and into the era of Reform. The consideration of Lucia Hartini’s work in this thesis acknowledges the gradual shift in her concerns. Lucia’s paintings respond to her natural and social environment, as well as to the challenges and dramatic changes in her life. This thesis charts the journey of her artistic maturation, so richly embodied in her third solo exhibition, “Irama Kehidupan / The Spirit of Life”, in January 2002. Through a critical commentary on paintings selected from her oeuvre and the textual analysis of Perbatasan / Boundaries, I discuss Lucia Hartini’s subject matter, unique systems of image formation and use of detail, her particular contribution to the characteristic qualities of Indonesian “Surealisme”. I regard the techniques, conceptual approaches and processes of filmmaking as intrinsic to this exploration, a methodological perspective arising from Hendro Wiyanto (2001) observation that Indonesia’s “Surealis” artists present us with “reality bundled as a dream”. Lucia Hartini’s work raises questions of gender and personal transformation. This thesis argues that, for many years, the tensions created by the contrary forces of political repression and social transformation characterising much of New Order Indonesia, were reflected in her art. In a microcosmic-macrocosmic sense, Lucia and her art quietly contributed to attitudinal and social change in Indonesia. Works painted between 1986 and 1996 autobiographically chart a shift from personal distress to a growing sense of empowerment, followed by life-changing spiritual growth. I contextualize these paintings socially by studying the changing interstices between Lucia Hartini’s private life, her professional creative practice and the public persona she adopted in Indonesia’s emergent civilian society. My approach is informed by a conceptual framework based on difference, hybridity and its transformations, on the psychology of borderlands, negotiation and the transcendence of boundaries, witnessed through a study of the spiritual practice and quest for religious tolerance important to Lucia and evident in her art. This thesis reveals those boundaries which were transcended and those which remain negotiable. Twice filming Lucia Hartini’s art, I was also affected by the dramatically different conditions of production prevailing in 1992 in New Order Indonesia and those possible between 1999 and 2001 during Reformasi. These differences are highlighted in the textual analysis of Perbatasan / Boundaries. Engaging comparisons between contemporary Indonesian art and Indonesian documentary and feature films, I discuss important attempts to solve the problems associated with restrictions on freedom of expression in paintings made prior to Reformasi. I consider the different uses of figurative realism to depict subjects deemed controversial by the state, and the creation of credible representations in art and convincing characterisations in filmmaking. The dramatically real yet poetic work of the Indonesian Neo-realist filmmakers of the 1950s exemplified one such solution. Their films and ideas prompted comparisons with the photo-realism, poetic intent and dramatic juxtapositional image making of the “Surealis Yogya”. The relationship I perceive between Neo-realist cinematic practice and contemporary international documentary filmmaking encouraged me to make a documentary about Lucia rather than a purely creative or experimentally surreal work. Because of Reformasi and the changes wrought by Lucia’s personal development, Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) is the documentary which my first short experimental video, Pusaran / Vortex: From the Kitchen to Outer Space (1992 - 1993), made during the New Order, could not be.
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Protschky, Susanne School of History UNSW. "Cultivated tastes colonial art, nature and landscape in the Netherlands Indies." 2007. http://handle.unsw.edu.au/1959.4/40554.

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Culitivated Tastes argues for a new evaluation of colonial landscape art and representations of nature from the Netherlands Indies (colonial Indonesia). The thesis focuses on examples from Java, Sumatra, Ambon and Bali during the nineteenth and early twentieth centuries, but also discusses early post-colonial literature. It uses paintings and photography, with supporting references to Dutch colonial novels, to argue that images of landscape and nature were linked to the formation of Dutch colonial identities and, more generally, to the politics of colonial expansion. Paintings were not simply colonial kitsch (mooi Indi??, or 'beautiful Indies', images): they were the purest expression of Dutch ideals about the peaceful, prosperous landscapes that were crucial to uncontested colonial rule. Often these ideals were contradicted by historical reality. Indeed, paintings rarely showed Dutch interventions in Indies landscapes, particularly those that were met with resistance and rebellion. Colonial photographs often supported the painterly ideals of peace and prosperity, but in different ways: photographs celebrated European intrusions upon and restructuring of Indonesian landscapes, communicating the notions of progress and rational, benevolent rule. It is in literature that we find broader discussions of nature, which includes climate as well as topography. Here representations of landscape and nature are explicitly linked to the formation of colonial identities. Dutch anxieties about the boundaries of racial and gender identities were embedded within references to Indies landscape and nature. Inner colonial worlds intersected with perceptions of the larger environment in literature: here the ideals and triumphs associated with Dutch colonial expansion were juxtaposed against fears related to remaining European in a tropical Asian landscape.
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Books on the topic "Indonesian Painting"

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Ajoeb, Joebaar. Gerhana seni rupa modern Indonesia: Sebuah catatan pada ulang tahun Bung Karno, saudara kandung seni rupa Indonesia, Juni 1992. Amsterdam: Diperbanyak Front Demokrasi Indonesia, 1993.

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Mustika. Seni rupa Indonesia modern dalam kritik dan esei. Jakarta, Indonesia: Sanggar Krida, 1996.

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Ajoeb, Joebaar. Gerhana seni rupa modern Indonesia. Jakarta: Teplok Press, 2004.

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Mustika. Tokoh-tokoh pelukis Indonesia. [Jakarta]: Dinas Kebudayaan DKI Jakarta, 1993.

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Foundation, Gate, ed. Indonesian modern art =: Indonesische moderne kunst : Indonesian painting since 1945. Amsterdam: Gate Foundation, 1993.

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Indonesia, Galeri Nasional. Hand book of collections. Jakarta: Galeri Nasional Indonesia, Kementerian Pendidikan dan Kebudayaan, 2013.

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Zaelani, Rizki Akhmad. Political circus: An ancient world : selected works, 1999-2003 : in the memory of Alit Sembodo, 1973-2003. Jakarta: Umahseni, 2011.

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(Organization), Bentara Budaya Jakarta. The journey of Indonesian painting: The Bentara Budaya collection. Jakarta: Kepustakaan Populer Gramedia, 2008.

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Udansyah, Dadang. Menjelajah keindahan seni rupa: Seni rupa mancanegara yang mempengaruhi perkembangan seni rupa Indonesia. Jakarta: Tursina, 2009.

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Spruit, Ruud. Indonesische impressies: Oosterse thema's in de westerse schilderkunst = Indonesian impressions : oriental themes in western painting. Wijk en Aalburg, the Netherlands: Picture Publishers, 1992.

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Book chapters on the topic "Indonesian Painting"

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Brumm, Adam, Adhi Agus Oktaviana, and Maxime Aubert. "Some Implications of Pleistocene Figurative Rock Art in Indonesia and Australia." In Deep-Time Images in the Age of Globalization, 31–44. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_3.

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AbstractUntil recent years, most western scholars had overlooked the existence of rock art in Indonesia or viewed it as being of limited antiquity and of largely regional-interest only. In 2014, however, an Indonesian-Australian team announced the results of a program of Uranium-series (U-series) dating of rock art in Maros-Pangkep, Sulawesi, including a surprisingly early antiquity of at least 39.9 ka for a hand stencil and 35.4 ka for a figurative animal painting. U-series dating more recently has yielded minimum ages for figurative animal painting of 40 ka in Kalimantan and 45.5 ka in Maros-Pangkep, with the latter presently constituting the world’s oldest dated example of representational art. Indonesia’s previously little-known rock art has been propelled to the global stage. Here, we examine how scholars are grappling with the implications of ‘ice age art’ in Indonesia and its integration, for the first time, into models of early human artistic culture in other parts of the world. In particular, we discuss the seemingly close stylistic parallels between Late Pleistocene figurative animal art in Indonesia and early representational depictions of animals in the Arnhem Land and Kimberley regions of northern Australia. We consider scenarios that could explain these similarities, including the idea that a single figurative rock art style spread into Australia from Wallacea during the early movements of our species in the region.
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Hanan, David. "Body Language: From Wall Reliefs and Painting to Popular Narrative Film." In Cultural Specificity in Indonesian Film, 193–235. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40874-3_6.

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Kaming, Peter F., Zofar S. C. Sihotang, Ferianto Rahajo, and Necta P. Pramesti. "Predicting Service Life of External Wall Painting for the School Buildings in Indonesia." In Critical Thinking in the Sustainable Rehabilitation and Risk Management of the Built Environment, 283–97. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61118-7_25.

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Efrata, Jeniosa Dias, and Nadia Mahatmi. "Designing Augmented Reality Application about Legendary Paintings in Indonesia for Gen Z." In Proceedings of the International Conference of Innovation in Media and Visual Design (IMDES 2023), 181–90. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-136-4_16.

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"Indonesian Analogues." In Painting and Performance, 48–78. University of Hawaii Press, 2019. http://dx.doi.org/10.2307/jj.13568097.10.

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Yuliman, Sanento. "New Indonesian Painting." In Living Art: Indonesian Artists Engage Politics, Society and History, translated by Elly Kent, 109–44. ANU Press, 2022. http://dx.doi.org/10.22459/la.2022.03.

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Sambrani, Chaitanya. "Affandi (1907–1990)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2089-1.

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Affandi was an Indonesian modernist artist best known for his expressive paintings depicting scenes of everyday life and his own emotional states, as well as for his portraits of family members. He is known as the first Indonesian modernist to gain international recognition. Affandi was largely self-taught, and while his work reflects strong affiliations with post-impressionist and expressionist tendencies in European art, there is no evidence to show that he studied these systematically. Affandi is best known for his technique of applying paint on to canvas directly from the tube and for working with his fingers instead of brushes, resulting in thick impasto and energetic gestural work that was well-suited to realising his goals of conveying emotionally charged images. During the period of revolutionary resistance against the Dutch (1945–9) Affandi was active in painting posters encouraging armed rebellion. He was a founding member of several Indonesian artists’ organisations including Gabungan Pelukis Indonesia [Union of Indonesian Painters], Jakarta, 1948. Throughout a career that spanned the late Colonial and Postcolonial periods in Indonesian history, Affandi was officially recognised and celebrated on several occasions by state and academic agencies in Indonesia, India, the USA, Singapore and Japan. His final home and studio in Yogyakarta, Indonesia, is now the Museum Affandi, and features a display of his works as well as several eccentric architectural, design and landscape aspects.
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"Blue Widow with Green Stripes." In At the Pivot of East and West, 155–93. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478024460-006.

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Shifting from texts to painting to taste over three novels, Laksmi Pamuntjak, whose work is discussed in this chapter, traces seventy years of Indonesian psychosocial history. Pamuntjak invokes daemonic or charismatic figures and Cold War hauntologies, but also Islamist demands, bureaucratic infighting, and local particularisms. Like Lydia Kwa, she draws on classical tales—for example, the Mahabharata, the Serat Centhini, and Attar's The Conference of the Birds—but also utilizes more recent cultural referents, such as the work of Western and Indonesian painters. Her novels deal with Indonesia's political history, especially the 1965 coup and the ensuing massacres of leftists, and the effect of this on people's lives and psyches. Her work focuses mostly on female characters and features strong modern women with shifting marital and sexual relationships, a counter-image to the masculine groups of men in 1965 massacres. Another recurring theme is that of art, and particularly the significance of color.
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Aryanto, Vincent Didiek Wiet, Yohan Wismantoro, and Karis Widyatmoko. "Implementing Eco-Innovation by Utilizing the Internet to Enhance Firm's Marketing Performance." In Disruptive Technology, 1290–307. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9273-0.ch062.

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The aim of this study is to explore a proposition of eco-innovation internet-based approach to bridge the gap between market orientation and marketing performance of the batik SMEs in Indonesia. Batik is an Indonesian art of waxed hand painting on the textile by utilizing of natural dyes. The 250 questionnaires were distributed among the SMEs actors; however, 189 out of 250 questionnaires were valid to be further processed. This research has provided some empirical evidence that the approach of e-eco-innovation has a significant impact on marketing performance. Furthermore, market orientation also has a significant impact on both marketing performance and e-eco-innovation. Therefore, the adoption of ICT (Internet & Communication Technology) and eco-innovation may contribute not only to the body of knowledge of green marketing but also for the practice of green marketing amongst SMEs in developing countries.
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Protschky, Susie. "Landscape Painting in Indonesia:." In Charting Thoughts, 164–73. National Gallery Singapore, 2017. http://dx.doi.org/10.2307/j.ctv13xpr6k.16.

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Conference papers on the topic "Indonesian Painting"

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Priyatno, Agus, Fuad Erdansyah, Azmi Azmi, and Ain Zuraini Alfioni. "Modern Painting in North Sumatera." In Proceedings of the 4th International Conference on Innovation in Education, Science and Culture, ICIESC 2022, 11 October 2022, Medan, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.11-10-2022.2325432.

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Taswadi, Taswadi. "Painting Waste with Communities on the Edge of Citarum River, Indonesia." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.045.

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Prana Arief, Guskoro Pradipta, Aliridho Barakbah, and Achmad Basuki. "Image Search System for Indonesian Cultural Paintings with Impression Context Recognition." In 2020 International Electronics Symposium (IES). IEEE, 2020. http://dx.doi.org/10.1109/ies50839.2020.9231730.

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R.P., Tieta Antaresti, and Aniati Murni Arymurthy. "Image Feature Extraction and Recognition of Abstractionism and Realism Style of Indonesian Paintings." In 2010 Second International Conference on Advances in Computing, Control and Telecommunication Technologies (ACT). IEEE, 2010. http://dx.doi.org/10.1109/act.2010.9.

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Yuliasari, Ni Kadek Nindi, and Ni Komang Ayu Trianita Adiningsih. "Kamasan Puppet Painting as a Media for Planting Pancasila Philosophical Values." In Proceedings of the 4th International Conference on Law, Social Sciences, and Education, ICLSSE 2022, 28 October 2022, Singaraja, Bali, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.28-10-2022.2326383.

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Taswadi and Heri Santosa. "Making Mural Painting With Collaboration of Students and Labschool Elementary School Students in Universitas Pendidikan Indonesia." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.042.

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Ayuningtari, Arum, and Rizal Pradana. "Gender Inequalities in The Workplace as The Idea of Painting Art Creation." In Proceedings of the 2nd International Seminar on Cultural Sciences of Brawijaya, ISCS 2022, 9–10 November 2022, Malang, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.9-11-2022.2329437.

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Ayuningtari, Arum Wilis Kartika, and Rizal Wahyu Bagas Pradana. "Toxic Beauty Standards for Women as an Idea for Painting Art Creation." In Proceedings of the 2nd International Conference of Humanities and Social Science, ICHSS 2022, 17 December 2022, Surakarta, Central Java, Indonesia. EAI, 2023. http://dx.doi.org/10.4108/eai.17-12-2022.2333284.

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Casta, Casta, Tjetjep Rohidi, Triyanto Triyanto, Syakir Syakir, and Mohammad Syarif. "The Aestheticcode of Cirebon Glass Painting As Culture Capital In Arts Education." In Proceedings of the 5th International Conference on Science, Education and Technology, ISET 2019, 29th June 2019, Semarang, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.29-6-2019.2290236.

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Diamastuti, Erlina, Tyas Ajeng Nastiti, and Marisya Mahdia Khoirina. "Interpreting the Triple Bottom Line Practice of PT. Semen Indonesia and the Gresik Community through Painting of Damar Kurung." In 23rd Asian Forum of Business Education(AFBE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/aebmr.k.200606.018.

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