All famous artist did make prints lithographys-engravings or sreenprints since hundreds of years. From Rembrant- to Rubbens- Picasso-Miro-Matisse-Dali-Lautrec-Appel-Lichtenstein-Hockney-Jasper Johns and even Indonesians like Kerton-Blanco-Sudjojono-Bonnet-Kartika-Pirous Soedarsono-Widayat-Eka Suprihadi-Apin Muchtar and Indonesian Master, Affandi. Indonesia lag behind the west. Decades in the field of graphic the academie of Yogyakarta ISI even have no graphic limestone-copper engraving plates, they work on zink who is too soft. They do not have a press to print hand made works of art, so the students of this Academie are limited to do with woodcut, linocut and simple screenprinting. The scarity of equipment discourages graphic artists Affandi study the art of print making (lithography-engraving and screenprint) in Europes is well kown Frans Masereel Art Centre and now Indonesians have the opportunity to posses Affandi's graphic at a affordable price to collect it or to decorate homes and offices with works of art of their favorite master painter. The genius Affandi, we give you an oversight of the graphic works and there commercial value of some of the most famous artist in the world. 

Semua seniman terkenal telah membuat cetakan berupa lithography, engraving atau serigraphy sejak ratusan tahun yang lalu. Dari Rembrant- to Rubbens- Picasso-Miro-Matisse-Dali-Lautrec-Appel-LichtensteinHockney-Jasper Johns dan begitu juga seniman Indonesia seperti Kerton-Blanco-Sudjojono-Bonnet-Kartika-Pirous Soedarsono-Widayat-Eka Suprihadi-Apin Muchtar serta sang maestro Indonesia, Affandi. Indonesia tertinggal jauh, terlambat dibandingkan negara barat. Dalam masa sepuluh tahun dalam penggarapan grafik, Institut Seni Indonesia Yogyakarta, meskipun tidak memiliki grafik berupa lempengan tembaga, lempengan limestone (batu), mereka mengerjakannya pada seng yang begitu lunak. Mereka tidak memiliki sebuat alat press untuk mencetak hasil seni mereka,karena keterbatasan ini para pelajar mengerjakanya dengan woodcut, linocut dan serigraphy yang sangat sederhana. Kekurangan dari perlengkapan tersebut mengecilkan hati seniman Affandi, sehingga ia belajar lithography, engraving dan serigraphy di Eropa yang dikenal dengan Frans Masereel Art Centre, dan sekarang Indonesia telah memiliki kesempatan untuk menunjukkan karya Affandi dengan harga yang pantas untuk dikoleksi atau untuk menghiasi rumah-rumah dan kantor-kantor dari karya seni pelukis favorit mereka. 

Creating an atmosphere of palpable secudtion, these images set in Matisse's haremilike Mediterranean studio shimer with lush silks, sparkle with trailing necklaces, and gleam with the velvety skin of his model, Henriette Darricarrere. His visit to Morroco in 1911-12 seems to have fixed the intricate, decorative patterns in his mind's eye forever. With these exotic odalisques in sumptuous settings-his mostly fully-realized graphic work-Matisse devoted himself to the mystery of female nude.A northern Frenchman, born near the Belgian border, Matisse always enjoyed visiting southern France, conctantly seeking out warmer, visually 'hotter' places.He first visited Nice in 1916 when he was 48, a symbolic return to the adventures of his youth and to his brilliantly coloured Fauve period. He recounted his initial impressions:'I left L'Estaque because of the wind, and I had caught bronchitis there. I came to Nice to cure it and it rained for a month. Finally I decided to leave. The next day the mistral chased the clouds away and it was beautiful. I decided not to leave Nice, and have stayed there practically the rest of my life'. He moved hotel rooms several times before finally renting permanent quarters from 1921 until 1938 at 1 place Charles-Felix, where the spacious studio's theatre-like space became the background for his much-admired odalisque pictures. At leats, he had a completely person alized space in Nice. The 18th century building had unique views over the atmospheric market, the city and beyond to Cannes and Cap d'Antibes. Mattise's third-floor apartement had two principal working rooms over looking the sea. The larger with two windows, fireplace, densely patterned walpaper and drawind studio. To the decor he added his own paintings and drawings, ethnic masks, fabric hangings and paintings by Courbet.