Exploring the Essence of Expressionism in Indonesian Art:

A Journey through Cultural Identity, Social Realities, and Artistic Innovation

Merry Franciska Salim (1120898)

Visual Art Major National Chiayi University
 ABSTRACT

The impact of Expressionism as an artistic movement on Indonesian artists, focusing

on Agapetus Agus Kristiandana and Made Sumadiyasa. Originating from Naturalism,

Expressionism emerged in the late 19th and early 20th centuries, displacing prior styles like

Realism, Naturalism, and Impressionism. Its influence on Indonesian lifestyle, artwork, and

culture is profound.

Expressionism, with its emphasis on individual perspectives, diverges from

conventional representation by excluding the real human form. Instead, it prompts viewers to

confront vivid colors and distorted figures, emphasizing stereotypes over holistic character

development. To understand Expressionism's form fully, the canon must expand to include

diverse works adhering to its principles, deepening comprehension of its impact on authors,

artists, and Indonesia's cultural landscape.

The essence of emotion in art is crucial, driving artists to create as a means of

grappling with universal feelings. Abstract expressionism, exemplified in Indonesian works,

serves as a visual intermediary, translating profound cultural and personal experiences. In this

abstract realm, minds and creative processes break free, allowing spirituality to permeate and

inspire diverse consciousnesses.

Keyword: expressionism art, Indonesia art

 INTRODUCTION

Expressionism is an artistic movement that emerged in the early 20th century,

primarily in Germany, influencing both visual and literary arts. It marked a departure from

Naturalism, incorporating a psychological dimension to explore how the mind perceives the

world. While rooted in the earlier Naturalist ideals, Expressionism delved deeper into

subjective experiences, emphasizing personal expression over traditional artistic techniques.

The impact of Expressionism on German culture was significant, shaping the aesthetic

landscape. The movement drew inspiration from Naturalism's exploration of societal norms

but added a psychological depth to its artistic endeavors. Until around 1912, the term

"Expressionism" was commonly used to characterize avant-garde art in Europe, particularly

in France. It was applied to art that diverged from Impressionism and even exhibited an "anti-

impressionist" stance. Ironically, the term was initially used more frequently for non-German

artists like Gauguin, Cezanne, Matisse, and Van Gogh. In practice, leading up to the outbreak

of World War I, "Expressionism" remained a broad descriptor for the latest modern art,

encompassing Fauvist, Futurist, and Cubist styles. For instance, the significant Sonderbund

exhibition held in Cologne in 1912 employed the term to encompass the newest German

paintings alongside works by international artists.

Expressionist artists utilize color to evoke various moods, selecting either vibrant or

muted shades for each color. Color wheels serve as a tool for artists to decide which colors to

incorporate. The primary colors are red, yellow, and blue, and all other colors can be achieved

by mixing them. In expressionism, a technique involves using colors adjacent to each other

on the wheel, creating a tranquil atmosphere in the painting. Conversely, employing colors

that are opposite each other on the wheel imparts a lively feel to the artwork.
 Indonesia also has similar works with expressionism. However, what sets Indonesian

expressionist artists apart from their European counterparts is the assimilation of culture and

traditions unique to Indonesia. Each region in Indonesia has its distinct characteristics and

culture. This diversity contributes to the creation of new works within Indonesian

expressionism, and even artworks by Indonesian artists have gained global recognition and

left an impression on foreign artists.

Indonesia boasts numerous internationally recognized artists, including Agapetus and

Affandi, who embraced Expressionism. The connection between artists and their cultural

environment is evident, and Indonesian culture, being a complex amalgamation of various

regional influences, plays a crucial role in shaping artistic expressions. The unique

socialization processes within each culture contribute to the diverse personalities emerging

from the cultural milieu.

While they possess technical skills, the movement often challenges established

techniques in favor of methods aligned with the artist's preferences. In the Indonesian context,

discussions around aesthetics and paradigms often turn to traditional treasures, seeking a

"national aesthetic" that encompasses elements from all ethnic traditions.

The paper aims to introduce and analyze Indonesian expressionist works, exploring

different perspectives and approaches. Chapters on the historical context, cultural identity,

and social realities will delve into the movement's roots, motivations, and influences on

Indonesian art. Comparative analysis with global counterparts will highlight similarities,

differences, and unique features, demonstrating the enduring presence of Expressionism in

Indonesian art. The concluding section emphasizes the continued use of Expressionism by

Indonesian artists, underscoring its enduring relevance.

 CHAPTER 1: History of The Movement

Expressionism emerged as an influential art movement and international trend in the

early 20th century, spanning various artistic disciplines such as visual arts, literature, music,

theatre, and architecture. The term was not coined by the artists themselves but was used

around 1910 to classify art sharing common stylistic traits that prioritized emotional impact

over descriptive accuracy. Notably, artists like Edvard Munch and his iconic work, "The

Scream," created in 1893, exemplify the early roots of Expressionism by emphasizing deep

emotions over precise representation.

Expressionism can be viewed as a longstanding tendency in Germanic and Nordic art,

particularly during times of social change or spiritual crises. Two pivotal art groups, Die

Brücke and Der Blaue Reiter, formed in Germany in the early 20th century, aimed to evoke

intense emotional responses using unconventional forms, colors, and compositions. German

Expressionists developed a distinctive style characterized by harshness, boldness, and visual

intensity. They employed jagged, distorted lines, rapid brushwork, and vivid colors to depict

urban scenes and contemporary subjects in compositions marked by instability and emotional

intensity. Expressionism departed from Impressionism's focus on reality, prioritizing personal

and emotional expression over objective accuracy.

Expressionism found resonance in the works of renowned artists like Vincent Van

Gogh, Pablo Picasso, Henry Moore, and James Ensor, though its roots were firmly

established in Germany. The movement replaced Naturalism and Impressionism, gaining

popularity during and after World War I. Expressionism's theoretical foundations can be

traced to Friedrich Nietzsche's philosophy and Wilhelm Worringer's "Abstraction and

Empathy."
 Expressionist works often expressed intense emotions such as frustration, anxiety,

disgust, and discontent in response to the perceived ugliness and contradictions of modern

life. Unlike Impressionism, which aimed for accurate depictions of light and color,

Expressionism prioritized the personal and emotional aspects of art, changing the landscape

of modern art and influencing 21st-century artists to embrace emotional interpretations over

objective truth.

The objective of Expressionist artists was to express emotional and sometimes

mystical experiences rather than physical reality. The use of intense, non-naturalistic colors,

free brushwork, and textured paint application became characteristic of Expressionist art. The

movement aimed to convey the artist's inner feelings or ideas, with color and form serving as

means to this expressive end. However, was not confined solely to the realm of fine art,

despite the importance and impact it had in other domains, which should not be exaggerated.

The inclination to adopt an Expressionist style was equally prevalent in literature, drama,

stage design, dance, film, and architecture.

Edvard Munch's painting, "The Dead Mother and the Child" (1897-9), serves as a

prominent example of Expressionism. In this artwork, a young girl is portrayed beside her

dying mother, casting a fearful gaze at the viewer. The painting resonates with Munch's

traumatic childhood and youth experiences, as he lost his mother to tuberculosis at the age of

five and later witnessed the death of his sister Sophie to the same disease. These personal

tragedies deeply impacted Munch and contributed to his sister Laura's subsequent depression.

Edvard Munch, "The

Dead Mother and the
Child" (1897-9)
 Expressionism, as exemplified in this painting, reflects a profound form of introverted

art. Munch's work, influenced by Ferdinand Hodler, is considered even more introspective.

Expressionist paintings, according to Maeder, can be seen as extensive self-portraits, a trend

that originated with artists like Vincent Van Gogh and Gauguin.

One such painting reflecting Expressionism is Gauguin's "Girl With A Fan" (1902),

where the subject sits on a carved chair, appearing emotionless and detached from the

external world. The composition, defined shadows, and the subject's stillness suggest a

photographic source for the painting.

Egon Schiele's "Self-portrait with Peacock Waistcoat Standing" presents another

unique instance of Expressionist self-portraiture. Unlike his previous works, this painting

features a figure standing in a filled-out space, not in a state of despair, but with a smug,

proud gaze. Surrounded by an aura, the figure exudes a sense of salvation, reminiscent of

Christ or God.

Gauguin “Girl With A Fan”, (1902). Van Gogh “self-portrait” Egon Schiele's "Self-portrait
(1889) with Peacock Waistcoat
Standing"

In the realm of Expressionism, artists focused on capturing the essence of emotions

and personal experiences rather than striving for a precise resemblance when creating
portraits and self-portraits. Here, the artist becomes the embodiment of expression, and the

emphasis lies on the internal, subjective world, shaping the very essence of Expressionism in

portraiture. Expressionism served as a means for artists to communicate beyond a mere

surface depiction of a subject. This artistic movement compelled them to explore their inner

selves and articulate their emotions, a task known to be quite challenging. By offering the

necessary tools, Expressionism empowered artists to address societal concerns. Through their

distorted imagery, artists could evoke emotions and provoke ideas in the viewers.
 CHAPTER 2: Cultural Identity and Social Realities

Expressionist artists in Indonesia, such as Affandi, Agapetus, and Made Sumadiyasa,

distinguished themselves through their independent work, showcasing intense and often

turbulent emotions while delving into the representation of their cultural identity. The unique

cultural diversity within the Indonesian archipelago played a crucial role in shaping the

Expressionist movement in the country. With numerous ethnic groups each possessing

distinct traditions, languages, and visual aesthetics, Indonesian artists found inspiration in this

cultural richness, exploring Expressionism as a means to navigate and express the intricate

layers of their identities.

Expressionism, characterized by the distortion of forms and the use of vibrant colors

to evoke emotions and convey subjective experiences, became a powerful artistic style for

Indonesian artists. Within the Indonesian context, this approach allowed artists to visually

articulate the diverse traditions, belief systems, and histories across the archipelago through

distorted forms, exaggerated shapes, and vivid colors.

Indonesia's art culture is pluralistic, harmoniously blending traditional and modern

forms while being influenced by various foreign cultures and religions. Spiritual expression

in Indonesian art can be traced back to 1500 B.C., with evidence found in stone and wooden

artifacts. The introduction of westernized art occurred during the Dutch colonial period in the

17th century, and further developments took place as artists traveled to Europe to study art in

the 18th and 19th centuries.

 a ship carved on Borobudur c. 800 CE.

Java and Bali are prominent regions in Indonesia for visual arts due to the

concentration of artistic activities and adequate facilities. Despite each region having unique

characteristics in visual arts and other forms, the Expressionist movement allowed artists to

move beyond literal representations, exploring symbolic and emotional dimensions of their

cultural experiences.

Javanese expressionism might focus on themes related to Javanese folklore, historical

events, or reflections on daily life. The art may emphasize a connection to nature and

spirituality. Balinese expressionist art could feature scenes from Hindu epics, religious

ceremonies, or Balinese rituals. The subject matter often reflects the spiritual and cultural life

of the Balinese people.

In certain periods, Javanese expressionism may have integrated elements of Western

modernism, influenced by interactions with European artists or exposure to global art

movements. Balinese expressionism, while rooted in traditional styles, may also show signs

of modernist influences, especially in contemporary Balinese art scenes.

 The distortion of forms in Expressionism enabled artists to emphasize cultural

elements, rituals, and symbols through exaggerated shapes, conveying the multifaceted nature

of Indonesian society. Bold colors played a crucial role in capturing the intensity, diversity,

and dynamism of the archipelago's traditions, providing a visual language for artists to

communicate the tension between tradition and modernity.

Expressionist artists in Indonesia addressed central themes of tradition, modernity,

and cultural fusion. The movement provided a platform for artists to engage with societal

changes, urbanization, and the impact of globalization on traditional ways of life. Through

expressive techniques, artists offered nuanced perspectives on the challenges and

opportunities arising from the intersection of tradition and modernity in Indonesia.

In Indonesia, Expressionism became a powerful tool for artists to explore and express

the rich tapestry of their cultural identities. The movement's intersection with the diverse

cultural landscape of Indonesia contributed to the development of a unique and impactful

artistic movement within the country. While contemporary paintings still reflect religious and

spiritual influences, many artworks symbolize individual responses to social issues.

 Chapter 3: Analysis of Artistic Styles

To make it easier to understand and explore the space of creative thinking and the aesthetic

paradigm of the three artist of Indonesian Expressionism, the author of the analysis will be

based on the personal spaces of their journey and the work they created in the 1900's. In this

exploration of the aesthetic paradigm of three Indonesian Expressionist artists, let's delve into

the distinctive journeys and works of Affandi, Agapetus Agus Kristiandana, and Made

Sumadiyasa during the 1900s.

1. Affandi

Affandi, born in Cirebon, West Java, on May 18, 1907, and passing away on May 23,

1990, was a prominent Indonesian artist known for his significant contribution to

Expressionism. Despite starting his education in Jakarta, Affandi abandoned formal studies to

pursue his passion for art. Beginning in 1934, he taught himself to paint and went on to create

over 2000 artworks, now showcased in a museum in Yogyakarta.

Initially a realism artist, Affandi transitioned to Expressionism, developing a

distinctive technique of squeezing paint directly from the tube to canvas using his bare

fingers. Self-taught and unconventional, he referred to himself as the "Pelukis Kerbau" or the

artist who avoided studying art theory. Affandi's unique approach was discovered by accident

but became a defining aspect of his artistic identity.

Renowned for his extraordinary finger-painting technique, Affandi's artworks stand

out for their originality and talent. He captured the expressions and emotions of everyday life,

focusing on ordinary people, especially those from lower economic backgrounds like beggars,

farmers, and traditional dancers. His paintings also reflected his own expressions and

emotions, making his work exceptional.

 Affandi, “Javanese”, Oil on canvas (1907) Affandi, “Dogs Fighting”, Oil on canvas (1964)

Affandi's signature style emerged whe nhe broke his brush and continued painting by

squeezing paint directly onto the canvas, using his hands as tools. This technique added

dimension to his art, as seen in his 1950 painting, 'The Artist and His Daughter,' blending

realism and expressionism. Another notable work, 'Wisdom of the East' (1967), depicts the

hand of God reaching across the ocean to the West, holding wise figures from the East.

Self-portraits were a recurring theme in Affandi's work, serving as representations of

humanity. Dominated by contrasting and warm colors, his self-portraits featured a male figure,

often himself, depicted with curved, wavy, and rough-textured lines. The paintings conveyed

a spiritual and emotional mood, reflecting an older self with white hair and a contemplative

expression. Affandi's brushstrokes, or spilled paint, conveyed a fervent aesthetic passion,

even hinting at a "self-destructive" instinct in his later years.

Affandi, “Self-Portrait”, Oil on canvas (1981)

 2. Agapetus Agus Kristiandana

Agapetus, born in Yogyakarta, Indonesia, in 1968, is distinct from many expressionist

artists who predominantly create self-portraits. As an Indonesian artist, he is synonymous

with depicting fauna such as pigs, rats, sheep, cows, and other animals as the primary

subjects of his artwork. Agapetus believes that animals better represent the actual reality

around him, making them the sole actors in his canvases and sculptures. His creations

exclude human subjects as objects of representation.

Agapetus manipulates the sizes of animals in his artwork, enlarging or reducing

specific body parts to support the narratives he constructs. Beyond mere representations of

reality, animals in Agapetus's works become symbols conveying the meanings he wishes to

build. An example of his work is "Baik Boeroek Tanah Airkoe Joega" (Good or Bad is Also

My Nation), completed in 2006. In this painting, a white-colored cow with a distinctive

pattern is depicted. Agapetus uses unconventional colors, portraying the cow's patterns in red

rather than the traditional black or brown. The painting also features a map of the Republic of

Indonesia integrated into the cow figure's motif.

Agapetus Kristiananda “Baik Boeroek Tanah Airkoe Joega”

 In this artwork, the proportions of the cow deviate from realism, with a small head

and legs while the body is wide, almost covering the entire canvas. Muscles are depicted on

the visible legs, and the cow's stomach and udder nearly touch its legs. Agapetus employs

monochromatic orange tones in the background, transitioning from orange to brown. The cow

figure's prominence is emphasized by the use of short tubes in yellow, a vertical line with the

image of the red and white flag of Indonesia, and a white area with some parts painted in red

below the cow figure. Despite a realist perspective considering the work's composition

unbalanced, the interpretation of its meaning presents a balanced perspective.

Through his art, Agapetus seems open to exploring the other side of capitalism.

While the visual quality may initially appear ordinary, the forms eventually reveal a new

reality that, although unfamiliar, does not complicate the viewer's interpretation. With no

distracting objects, the focus remains on the cow figure, encouraging observers to absorb and

interpret Agapetus's intended message.

3. Made Sumadiyasa

Made Sumadiyasa hails from the village of Selemadeg, Tabanan Bali, characterized

by strong traditions, beautiful rice fields, and nature. His artistic journey, commencing in

1992, initially featured elements of figures and objects, especially human formations. During

this period, Made's creative process was influenced by robust formation studies observed in

Balinese art, emphasizing strong but straightforward formation elements. His inspirations

drew from Balinese cultural activities, including humans at temples, dance movements, and

gamelan, with Bali's imagination encouraging artistic creations.

In the subsequent phase between 1993-1994, Made transitioned to using symbols as a

language of expression, occasionally leaning towards abstract forms. Notably, the work

"Humanity I" (1994) combined vague forms with strong lines and color expressions,
departing from easily recognizable identities. Made increasingly recognized the spirit within

him, detached from formal formations, delving into matters of taste. Each object in his art

possesses its own emotional spirit, requiring recognition through depth of imagination.

I Made Sumadiyasa “Dancing on the Horizon #I ” I Made Sumadiyasa “Blue Dancer”

The expressive language in Made's works extends beyond forms or illusions in space;

it delves into the level of emotion, understood through the quality and intensity of feeling tied

to situations. Made's emotions are integral to the creative process, creating a sense of

"ecstasy" during painting. The phase of total abstraction in mid-1994, exemplified by the

work "Spirit of the Forest," marked Made's enlightenment. He found pleasure in spontaneous

movements, allowing the freedom of his subconscious to shape his imagination. Surrendering

to his wildness, Made's art formed a mysterious sweep, infused with natural energy and

spirituality.
 CONCLUSION

Expressionism, as an artistic movement, defies rigid temporal boundaries,

significantly impacting Indonesian artists like Agapetus Agus Kristiandana and Made

Sumadiyasa. Originating from Naturalism, Expressionism flourished in the late 19th and

early 20th centuries, displacing previous styles such as Realism, Naturalism, and

Impressionism. It profoundly influenced lifestyle, artwork, and culture in Indonesia.

Expressionism, while common in its focus on individual perspectives, removed the

use of the real human form, compelling viewers to confront harsh colors and distorted figures.

The movement worked less on developing holistic characters, emphasizing their

representation as stereotypes of the groups they embodied.

Understanding Expressionism's form necessitates expanding the canon to include

diverse works adhering to expressionistic principles. This expansion enhances comprehension

of Expressionism's impact on authors, artists, Indonesia's cultural landscape, and criteria for

identifying expressionistic works.

The absence of emotion would render art non-existent, as artists are driven to create

as a means of grappling with universal feelings. Abstract expressionism, faithfully

represented in the works of Indonesian artists in this study, serves as a visual intermediary,

translating deep cultural and personal experiences. In this abstract realm, minds and creative

processes become unfettered, allowing spirituality to permeate and inspire other

consciousnesses.
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