AFFANDI

Question 1

his artistic beliefs

Answer 1

he painted the reality of the everyday struggles and life of ordinary people, he rejected the colonial perspectives of seeing indonesia and bali as an “idealised paradise”

Question 2

painting style

Answer 2

expressionism, seen in both “the three expressions of affandi” and “self-portrait”. (defining expressionism: a modernist art movement and expresses meanings/emotional experience rather than physical reality)

Question 3

techniques in creating art

Answer 3

he directly squeezes the paint from its tube onto the canvas, and uses the back of his hands to produce curvy lines. he completes paintings in a short amount of time, reflecting a mixture of instinct, sense and awareness towards his object. he also makes his artworks outdoors

Question 4

processes; use of hands

Answer 4

he uses his hands so that he can be directly connected with his artwork, unlike the use of a brush. by using his hands, lines are more expressive, fluid and dynamic. allows for a wavy texture which is unlike canvas paintings

Question 5

processes; squeezing paint directly onto canvas

Answer 5

realised that his lines were much more lively, and there is a sense of immediacy where he is forced to mix the colours on the canvas itself

Question 6

processes; working outdoors

Answer 6

allows for the creation of quick impressions, as well as **focus more on the big picture **rather than the smaller details in his painting

Question 7

The Three Expressions of Affandi

art style in this artwork

Answer 7

expressionism (expresses his feelings and emotions) and impressionism (strokes like van gogh)

Question 8

The Three Expressions of Affandi

use of colour

Answer 8

the 3 faces painted with red, green and yellow. he uses these colours to represent a part of his emotion; red represents anger, yellow represents happiness, green represents sadness. colours in the background appear to be made out of mostly yellow and red, with intertwining wavy lines of green. there is also no use of tonal values on the faces

Question 9

The Three Expressions of Affandi

use of lines (part 1)

Answer 9

repetition of wavy lines are highly energetic. since the lines are expressive and varied, they capture affandi’s transition between different expressions and emotions

Question 10

The Three Expressions of Affandi

use of lines (part 2)

Answer 10

most of his lines are left unblended and there are gaps between them. together with the translucent patches of green and red, the lines make the three expressions appear apparitional

Question 11

The Three Expressions of Affandi

use of lines (part 3)

Answer 11

the wavy lines create a rhythmic movement as it makes readers’ eyes follow the lines to depict the faces of the artist in the artwork. they are thick, thin, and messy

Question 12

The Three Expressions of Affandi

movements

Answer 12

different lines gave off a spontaneous feel - brush movements were quick and swift, like it was done on impulse. lack of uniformity, but accentuates the fluidity of the artwork. this gives off a sense of freedom, like he had no constraints while doing the artwork.** thick impasto techniques** in his strokes

Question 13

The Three Expressions of Affandi

influences

Answer 13

van gogh: similar brush strokes, painting images of suffering artists and creates a sense of empathy for human suffering

western art: self-portraits represented inner spirit, and affandi shifted to a more expressionistic art style rather than focusing on anatomical portrayals of himself

traditional art: wayang puppets; straight looking but curved at the top and end

Question 14

The Three Expressions of Affandi

analysis

Answer 14

places creativity of gratification of emotions and instincts to create beauty that developed in creation proccess. self-portraits allowed him to record his physical and psychological changes. he painted only the truth - rather than pursuing facial resemblance, expressive portraits were emotional representatives of his state of mind. paintings were not images of self-obsession and vanity, but windows to his own spiritual progress

Question 15

Self-Portrait

use of colour (part 1)

Answer 15

mix of primary colours annd secondary colours used - red, yellow, green. there is also a hint of brown undertones. emphasis on his face is created with the contrast of cool green in the background and warm brown on his face

Question 16

Self-Portrait

use of colour (part 2)

Answer 16

mainly warm colours; earthy brown and flesh undertones

minimal cool colours in the background; they have a receding effect which makes the face stand out

colours are largely exaggerated and detached from reality

Question 17

Self-Portrait

subject matter

Answer 17

downcast eyes and mouth of broken teeth; he is an aging artist, yet exudes confidence and passion. he is gazing directly at the viewer which shows that he is aware of his success, yet realises the frailty of his physical self.

Question 18

Self-Portrait

his intention

Answer 18

expression of the self - the expressive, tumultuous lines can convey the tumultuous emotions that he is facing

Question 19

Self-Portrait

art style

Answer 19

post-impressionism style

Question 20

Self-Portrait

oil paint trails (part 1)

Answer 20

the oil paint trails cover most of the canvas; background layers are mainly smudges, such as the green smudge (desc where they’re placed) and shades of brown in the right and centre of affandi’s face. these layers are mostly made of short, fluid, wavy, dynamic, and unblended line trails

Question 21

oil paint trails (part 2)

Answer 21

some of these line trails represent his features (hair, mustache, beard, nose, eyes and lips, wrinkles etc.) viewers can see this as they are unblended and there are gaps between them most of the time. repetition of wavy and fluid line trails project a sense of energy

Question 22

Self-Portrait

use of background

Answer 22

parts of the background are left unpainted. the distinction between in the background and the face is purposely made not clear (some of his features aren’t even painted) and this gives an illusion that there are holes in his face and that there are transparent parts that allow viewers to see the background of the painting

Question 23

Self-Portrait

brush strokes

Answer 23

strong movement, expressive tension. thick impasto technique. expressive strokes from expressionism era, like van gogh. curvilinear and wavy lines that help define affandi’s face

Question 24

Self-Portrait

analysis

Answer 24

daring to portray physical flaws (such as broken teeth and thinning hair). affandi conveys that age and appearance doesn’t matter - personality and passion is what truly counts. wide grin and vibrant colours evokes a sene of dynamism and passion despite old age.