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Holding My First Grandchild, 1953
In searching for ideas Affandi let himself venture into foreign domains, full of socio religious taboos. He dread to push out his boundaries, despite censure or criticism. Painting his own naked body was just one example. In addition Affandi often drew and painted nude models includeing Maryati his first wife who was Sundanese but actually had European ancestry from her Dutch grandmother.
Hiring models to pose naked was not only difficult but also expensive, therefore Affandi often shared expenses with several other artist who used the asme model. This practice began in the early 1940s and continued throughout his career as a professional painter. This was significant because even up until the present painting or publicly exhibitng nudes is not generally acepted in Indonesia for such scenes are regarded obscence or indecent. Moreover, by certain religious standards nude presentations are forbidden. For instance at the both the Indonesia Art Institute of Yogyakarta and the School of Art at the Bandung Institute of Technology drawing nudes is conducted behind closed doors.
To appreciate this way of painting more fully Affandi's work entitled 'Holding My First Grandchild', 1953, deserves scrutiny. This work concerns thehappy event of the birth of his grandchild Helfi from Affandi's only child, Kartika, at the time merried to Saptohoedojo who was studying art in London. In the painting Affandi depicts himself and the naked baby, while holding the baby in his own hands. The nakedness showsthe happiness of a grandfather beyondverbal expression with its fuurrowed brow. The directly squeezed lines of paint and hand strokes fullt function as a means of expressing gratitude.
To Affandi painting was not merely about dealing with aesthetics or beauty, neither was it for personal gratification, Affandi believed that painting was a powerful means of rising humanitarian awareness internationality. In pursuing this idealism Affandi made time to closelu observe downtrodden people or individuals. For instance, when he was in India between 1949 and 1951, Affandi observed the lives Calcutta's improvished. The street people's environs-refugee camps, traditional markets, and slums were reflected in his work.Affandi sincerely commented to painter Fadjar Sidik, "Those who suffer, the poor, the oppressed have to be assisted. This social concern has to become a principle guideline, materialized through painting. Accordingly it is natural if in my work I often depict such things such as poverty, atocities, agony, sadism, and exhausted labours. In my painting I reflect those people's struggles, in hope that solutions will be found for them to have proper life."
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