Hendra Gunawan Tropical Ferocity Born of Turbulent History
Name
Hendra Gunawan
Media
Painting
Region
Indonesia
Year of Birth
1918
Place of Birth
Bandung, Indonesia
Year of Death
1983
Place of Death
Denpasar, Bali Island, Indonesia
Hendra Gunawan, along with Sudjojono and Affandi[1], is regarded as one of the fathers of modern Indonesian art and among the country’s most important artists. He is recognized not only for his highly distinctive and instantly identifiable painting style, but also for his contributions to the national independence movement and deep devotion to his country’s culture and people. Despite this, his life and legacy have been shaped by Indonesia’s turbulent modern history. He endured a long imprisonment because of his political stance, and was frequently shunned as a leftist artist.
Biography
Hendra initially studied art under a European-style landscape painter. In 1939, his encounter with Affandi (1907–1990), a key figure in Indonesian modern art, cemented his resolve to become a painter. He also learned about the history of modern art through Sudjojono (1913–1986) and others. Over time, he came to seek a style distinct from Western art, pursuing a uniquely Indonesian approach while the country was still under Dutch colonial rule.
In the 1940s, he met Popo Iskandar (1927–2000) and Sudjana Kerton (1922–94), visited Jakarta and saw the activities of the modern art group PERSAGI, and traveled to various places across the country, including Cirebon on Java. He painted scenes of everyday life and landscapes, depicting markets, factories, and farms.
In 1942, after the Netherlands surrendered to Japanese forces, he joined Peotera (Peosat Tenaga Rakyat [Center of the Struggle of the People]) alongside Sudjojono and Affandi and created propaganda posters in support of Indonesian independence. The following year, he received an award at an exhibition organized by Keimin Bunka Shidosho (Institute for People’s Education and Cultural Guidance), established by the Japanese government in Jakarta. He later joined Barisan Keamanan Rakyat (the People’s Army) in an artistic capacity. However, almost none of his works from this wartime period have survived.
When newly appointed President Sukarno proclaimed independence on August 17, 1945, Hendra created posters for the independence movement and revolution against Dutch rule, and co-founded the group Frontline Painters (Pelukis Front) in Bandung with Affandi, Kerton, and others. He made many sketches at the frontlines, and became known as a painter who actively fought for independence. During this period, he produced one of his signature works, Bride of the Revolution (c. 1955, collection of the Fatahilah Art and Ceramic Museum).
In 1946, he joined Seniman Indonesia Muda (Young Indonesian Artists), a group formed by Sudjojono, but he had differences with the authoritarian Sudjojono and left the group the following year.
When Dutch forces occupied Jakarta, Hendra moved to Yogyakarta along with the Indonesian revolutionary government, where he developed a deep appreciation for Javanese culture. In 1947, he co-founded the Pelukis Rakyat (People’s Painters) group with Affandi and others. He contributed to the creation of public spaces, including architectural and sculptural projects, and also taught painting to unemployed youth. The group held its first exhibition in 1948, and its influence expanded nationwide.
Hendra’s dedication to art education led to the establishment of Akademi Seni Rupa Indonesia (ASRI, the Indonesian Academy of Fine Arts) in Yogyakarta in January 1950, where he taught until 1957. His painting Looking for Lice and Kerokan (in the collection of the Fukuoka Asian Art Museum) likely dates from this period.
Pursuing his vision of “art for the people,” Hendra drew the attention and support of Lembaga Kebudayaan Rakyat (LEKRA, the Institute for People’s Culture)[2], a cultural organization under the auspices of the Partai Komunist Indonesia (PKI, the Communist Party of Indonesia), in the late 1950s. He became directly involved in politics, holding positions on LEKRA’s central committee and in the constitutional assembly. Due to this involvement, he returned to Bandung in 1957. However, between 1963 and 1965, tensions emerged between LEKRA, which emphasized political ideology in art, and nationalists seeking cultural independence from politics.
Following the failed coup d’etat of September 30, 1965, blamed on the PKI, a nationwide crackdown and massacre of communists and their sympathizers began. President Sukarno was removed from power and Suharto took control of the government, establishing a dictatorship that continued until after Hendra’s death. As a known LEKRA member and a close associate of Sukarno, Hendra was arrested in December 1965 and imprisoned in Kebonwaru prison in Bandung for 13 years, until his release on May 15, 1978. During his imprisonment, he was allowed to continue painting, producing a significant and compelling body of work.
In 1979, after his release, his paintings depicting revolution and independence were exhibited, but due to the stigma of his long imprisonment as a leftist, sales of his works were difficult. In 1980, he moved to Bali and settled in Ubud, where he lived until his death in 1983. Not long after, his works began commanding high prices in the art market, resulting in a flood of forgeries.
Style
As Hendra grew older, his distinctive style became progressively more unrestrained. Combined with the increasing size of his canvases, some exceeding four meters in width, his works lost their sense of tension and took on a coarser appearance. Some critics argue that his paintings of the 1950s and 1960s were too conspicuously influenced by LEKRA ideology, and some researchers place higher value on his works of the 1940s, in which realism and stylistic individuality were more balanced.
Landscape was seldom a subject in his work, and most of his paintings were figurative compositions, often featuring densely intertwined figures theatrically filling wide horizontal canvases. These compositions were fitting for historical subjects such as the war for independence, but were also a means of depicting the vibrant daily lives of ordinary people in markets and other communal spaces. While many of his works of the 1950s and 1960s reflected nationalist propaganda and leftist positions, Hendra’s unwavering belief in “art for the people” – as opposed to “art for art’s sake” – was fundamentally independent of political ideology.
However, Hendra’s style was not the easily understandable realism preferred by general audiences, and also diverged from the “socialist realism” promoted in the Soviet Union and China. His approach evoked early 20th-century European expressionism, but the influence of traditional Indonesian art cannot be overlooked. He distorted bodies dramatically, painted skin in unnatural shades of green, blue, or pink, and rendered outlines indistinct. He used flowing brushwork, reminiscent of watercolor techniques, in compositions where numerous figures were densely packed and merged with objects and backgrounds, often making his paintings difficult to decipher at first glance. Ferocious brushwork and integration of figures with their surroundings, evoking a tropical climate, were also seen in Affandi’s works, but the highly unnatural colors and planar treatment of forms were unique to Hendra.
From a contemporary perspective, it is particularly noteworthy that, unlike Sudjojono and Affandi, who largely restricted their depictions of women to portraits or nudes, Hendra frequently made women the active protagonists of his works. He depicted them engaged in grooming, working as market vendors, performing physical labor, and even fighting as guerrilla warriors. These representations rarely placed beauty or sensuality for the male gaze at the forefront, instead portraying women as autonomous individuals with agency. However, many of his paintings featured women with exaggerated breasts caring for children, which was likely a reflection of his personal views on femininity and motherhood.
Personal Life
Hendra was trained in puppet theater and dance from a young age, joined traveling theater troupes, and worked as a spiritual healer (dukun) early in life. These experiences with traditional performing arts and his faith in spiritual forces influenced both his non-Western painting style and his deep affection for diverse communities.
During his boyhood, Hendra was raised by a beggar, which led him to have deep compassion for the poor throughout his life. In 1946, Hendra held the first solo exhibition after Indonesia declared independence, supported by President Sukarno and presented in an elegant venue. Sukarno himself attended, but numerous beggars were also permitted entry, reflecting Hendra’s solidarity with impoverished people. Hendra was also known for his sharp wit and oratory, and it was said that he never lost a debate. Beyond painting, he was also an artist of words who inscribed his own poetry onto his works and maintained friendships with poets. His strong convictions, expressive power, and unwavering humanism undoubtedly underlie his enduring status as a celebrated national artist in Indonesia today.
(Kuroda Raiji, translated by Christopher Stephens)
Bibliography
Agus Dermawan T, Astri Wright, Hendra Gunawan: A Great Modern Indonesian Painter (Jakarta: Ir. Ciputra Foundation Jakarta, Archipelago Press, 2001)
[1] Theser artists are known by mononyms, a widespread practice in Indonesia.
[2] Regarding LEKRA, see: Antariksa (trans. by Egami Ken’ichirō), “Expand and Strive: Harian Rakjat and LEKRA’s Works,” Blaze Carved in Darkness: Asian Woodcut Movements 1930s–2010s. Kuroda Raiji and Igarashi Rina (eds.), Fukuoka Asian Art Museum and Arts Maebashi, 2018, 104–105.
Hendra Gunawan, along with Sudjojono and Affandi[1], is regarded as one of the fathers of modern Indonesian art and among the country’s most important artists. He is recognized not only for his highly distinctive and instantly identifiable painting style, but also for his contributions to the national independence movement and deep devotion to his country’s culture and people. Despite this, his life and legacy have been shaped by Indonesia’s turbulent modern history. He endured a long imprisonment because of his political stance, and was frequently shunned as a leftist artist.
Biography
Hendra initially studied art under a European-style landscape painter. In 1939, his encounter with Affandi (1907–1990), a key figure in Indonesian modern art, cemented his resolve to become a painter. He also learned about the history of modern art through Sudjojono (1913–1986) and others. Over time, he came to seek a style distinct from Western art, pursuing a uniquely Indonesian approach while the country was still under Dutch colonial rule.
In the 1940s, he met Popo Iskandar (1927–2000) and Sudjana Kerton (1922–94), visited Jakarta and saw the activities of the modern art group PERSAGI, and traveled to various places across the country, including Cirebon on Java. He painted scenes of everyday life and landscapes, depicting markets, factories, and farms.
In 1942, after the Netherlands surrendered to Japanese forces, he joined Peotera (Peosat Tenaga Rakyat [Center of the Struggle of the People]) alongside Sudjojono and Affandi and created propaganda posters in support of Indonesian independence. The following year, he received an award at an exhibition organized by Keimin Bunka Shidosho (Institute for People’s Education and Cultural Guidance), established by the Japanese government in Jakarta. He later joined Barisan Keamanan Rakyat (the People’s Army) in an artistic capacity. However, almost none of his works from this wartime period have survived.
When newly appointed President Sukarno proclaimed independence on August 17, 1945, Hendra created posters for the independence movement and revolution against Dutch rule, and co-founded the group Frontline Painters (Pelukis Front) in Bandung with Affandi, Kerton, and others. He made many sketches at the frontlines, and became known as a painter who actively fought for independence. During this period, he produced one of his signature works, Bride of the Revolution (c. 1955, collection of the Fatahilah Art and Ceramic Museum).
In 1946, he joined Seniman Indonesia Muda (Young Indonesian Artists), a group formed by Sudjojono, but he had differences with the authoritarian Sudjojono and left the group the following year.
When Dutch forces occupied Jakarta, Hendra moved to Yogyakarta along with the Indonesian revolutionary government, where he developed a deep appreciation for Javanese culture. In 1947, he co-founded the Pelukis Rakyat (People’s Painters) group with Affandi and others. He contributed to the creation of public spaces, including architectural and sculptural projects, and also taught painting to unemployed youth. The group held its first exhibition in 1948, and its influence expanded nationwide.
Hendra’s dedication to art education led to the establishment of Akademi Seni Rupa Indonesia (ASRI, the Indonesian Academy of Fine Arts) in Yogyakarta in January 1950, where he taught until 1957. His painting Looking for Lice and Kerokan (in the collection of the Fukuoka Asian Art Museum) likely dates from this period.
Pursuing his vision of “art for the people,” Hendra drew the attention and support of Lembaga Kebudayaan Rakyat (LEKRA, the Institute for People’s Culture)[2], a cultural organization under the auspices of the Partai Komunist Indonesia (PKI, the Communist Party of Indonesia), in the late 1950s. He became directly involved in politics, holding positions on LEKRA’s central committee and in the constitutional assembly. Due to this involvement, he returned to Bandung in 1957. However, between 1963 and 1965, tensions emerged between LEKRA, which emphasized political ideology in art, and nationalists seeking cultural independence from politics.
Following the failed coup d’etat of September 30, 1965, blamed on the PKI, a nationwide crackdown and massacre of communists and their sympathizers began. President Sukarno was removed from power and Suharto took control of the government, establishing a dictatorship that continued until after Hendra’s death. As a known LEKRA member and a close associate of Sukarno, Hendra was arrested in December 1965 and imprisoned in Kebonwaru prison in Bandung for 13 years, until his release on May 15, 1978. During his imprisonment, he was allowed to continue painting, producing a significant and compelling body of work.
In 1979, after his release, his paintings depicting revolution and independence were exhibited, but due to the stigma of his long imprisonment as a leftist, sales of his works were difficult. In 1980, he moved to Bali and settled in Ubud, where he lived until his death in 1983. Not long after, his works began commanding high prices in the art market, resulting in a flood of forgeries.
Style
As Hendra grew older, his distinctive style became progressively more unrestrained. Combined with the increasing size of his canvases, some exceeding four meters in width, his works lost their sense of tension and took on a coarser appearance. Some critics argue that his paintings of the 1950s and 1960s were too conspicuously influenced by LEKRA ideology, and some researchers place higher value on his works of the 1940s, in which realism and stylistic individuality were more balanced.
Landscape was seldom a subject in his work, and most of his paintings were figurative compositions, often featuring densely intertwined figures theatrically filling wide horizontal canvases. These compositions were fitting for historical subjects such as the war for independence, but were also a means of depicting the vibrant daily lives of ordinary people in markets and other communal spaces. While many of his works of the 1950s and 1960s reflected nationalist propaganda and leftist positions, Hendra’s unwavering belief in “art for the people” – as opposed to “art for art’s sake” – was fundamentally independent of political ideology.
However, Hendra’s style was not the easily understandable realism preferred by general audiences, and also diverged from the “socialist realism” promoted in the Soviet Union and China. His approach evoked early 20th-century European expressionism, but the influence of traditional Indonesian art cannot be overlooked. He distorted bodies dramatically, painted skin in unnatural shades of green, blue, or pink, and rendered outlines indistinct. He used flowing brushwork, reminiscent of watercolor techniques, in compositions where numerous figures were densely packed and merged with objects and backgrounds, often making his paintings difficult to decipher at first glance. Ferocious brushwork and integration of figures with their surroundings, evoking a tropical climate, were also seen in Affandi’s works, but the highly unnatural colors and planar treatment of forms were unique to Hendra.
From a contemporary perspective, it is particularly noteworthy that, unlike Sudjojono and Affandi, who largely restricted their depictions of women to portraits or nudes, Hendra frequently made women the active protagonists of his works. He depicted them engaged in grooming, working as market vendors, performing physical labor, and even fighting as guerrilla warriors. These representations rarely placed beauty or sensuality for the male gaze at the forefront, instead portraying women as autonomous individuals with agency. However, many of his paintings featured women with exaggerated breasts caring for children, which was likely a reflection of his personal views on femininity and motherhood.
Personal Life
Hendra was trained in puppet theater and dance from a young age, joined traveling theater troupes, and worked as a spiritual healer (dukun) early in life. These experiences with traditional performing arts and his faith in spiritual forces influenced both his non-Western painting style and his deep affection for diverse communities.
During his boyhood, Hendra was raised by a beggar, which led him to have deep compassion for the poor throughout his life. In 1946, Hendra held the first solo exhibition after Indonesia declared independence, supported by President Sukarno and presented in an elegant venue. Sukarno himself attended, but numerous beggars were also permitted entry, reflecting Hendra’s solidarity with impoverished people. Hendra was also known for his sharp wit and oratory, and it was said that he never lost a debate. Beyond painting, he was also an artist of words who inscribed his own poetry onto his works and maintained friendships with poets. His strong convictions, expressive power, and unwavering humanism undoubtedly underlie his enduring status as a celebrated national artist in Indonesia today.
(Kuroda Raiji, translated by Christopher Stephens)
Bibliography
Agus Dermawan T, Astri Wright, Hendra Gunawan: A Great Modern Indonesian Painter (Jakarta: Ir. Ciputra Foundation Jakarta, Archipelago Press, 2001)
https://id.wikipedia.org/wiki/Hendra_Hendra_(pelukis)
NOTES
[1] Theser artists are known by mononyms, a widespread practice in Indonesia.
[2] Regarding LEKRA, see: Antariksa (trans. by Egami Ken’ichirō), “Expand and Strive: Harian Rakjat and LEKRA’s Works,” Blaze Carved in Darkness: Asian Woodcut Movements 1930s–2010s. Kuroda Raiji and Igarashi Rina (eds.), Fukuoka Asian Art Museum and Arts Maebashi, 2018, 104–105.