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Affandi
Indonesian, 1907-1990

Affandi Indonesian, 1907-1990

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Affandi, Kartika: Reclining Nude, 1966
Affandi, Kartika: Reclining Nude, 1966
Affandi, Kartika: Reclining Nude, 1966
Affandi, Kartika: Reclining Nude, 1966
Affandi, Kartika: Reclining Nude, 1966
Affandi, Kartika: Reclining Nude, 1966
Affandi, Kartika: Reclining Nude, 1966
Affandi, Kartika: Reclining Nude, 1966

Affandi Indonesian, 1907-1990

Kartika: Reclining Nude, 1966
oil on canvas
97 x 130 cm
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%3Cdiv%20class%3D%22artist%22%3EAffandi%3C/div%3E%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EKartika%3A%20Reclining%20Nude%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E1966%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22medium%22%3Eoil%20on%20canvas%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3E97%20x%20130%20cm%3C/div%3E

Further images

  • (View a larger image of thumbnail 1 ) Affandi, Landscape with a House, a Crow and a Dog, 1951
  • (View a larger image of thumbnail 2 ) Affandi, Landscape with a House, a Crow and a Dog, 1951
  • (View a larger image of thumbnail 3 ) Affandi, Landscape with a House, a Crow and a Dog, 1951
  • (View a larger image of thumbnail 4 ) Affandi, Landscape with a House, a Crow and a Dog, 1951
  • (View a larger image of thumbnail 5 ) Affandi, Landscape with a House, a Crow and a Dog, 1951
  • (View a larger image of thumbnail 6 ) Affandi, Landscape with a House, a Crow and a Dog, 1951
  • (View a larger image of thumbnail 7 ) Affandi, Landscape with a House, a Crow and a Dog, 1951
  • (View a larger image of thumbnail 8 ) Affandi, Landscape with a House, a Crow and a Dog, 1951

This portrait of Kartika recalls the art historical genre of the odalisque – the eroticised artistic genre in which a woman is represented mostly or completely nude in a reclining position, often in the setting of a harem. But where Affandi is concerned, this painting speaks of Affandi’s legacy as artist – where life is inseparable from art. At the moment the portrait was painted in 1966, Kartika was just emerging on her own terms as an artist. As her father’s sitter, she is the subject on which Affandi lays bare love, hope and expectations upon.

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Provenance

Christie's Singapore 1 Oct 1995, Lot 667
Acquired from the above by the present owner

Exhibitions

Washington, D.C., United States of America,​

Affandi in America, International Monetary Fund, 11 Sep – 19 Oct 1990

Literature

Affandi in America, United States of America: ​

Washington, D.C. International Monetary Fund, col. illus.

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