AREA MAP

NEKA ART MUSEUM REBORN MAP DESCRIPTIONS

Sculpture, Keris, Painting and Photography Pavilions

A. LOBBY
The enterance hall for admission and depositing the prohibited guest's staff. The museum tour starts from here.

B. SCULPTURE PAVILION
Sculptures ranging from Classic styles (Wayan Neka, Wayan Ayun,I Nyoman Ritug), Primitive styles (I Nyoman Tjokot) to Modern styles (Ida Bagus Nyana, Nyoman Nuarta, Made Supena, Wayan Pasti).

C. KERIS PAVILION
Pavilion exhibiting historic Balinese Keris and Kamardikan Keris, which was proclaimed by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity from Indonesia in 2005.

 

I. BALINESE TRADITIONAL PAINTING PAVILION

a. Puppet Style Painting: Kamasan Classical wayang (puppet figure) paintings have narrative episodes from the Indian Ramayana and Mahabharata epics, Balinese-Javanese romances, and almanacs with scenes from daily life. Dating from at least the 17th century, characters are similar to the colors and features of puppets. The style has been maintained by Mangku Mura and I Nyoman Mandra in Kamasan, Klungkung.

b. Transitional Style Painting: These works show stylistic and aesthetic factors from indigenous and foreign sources. This started during the late 1800s in North Bali to illustrate indian epics and Balinese Javanese tales. Figures have a natural appearance in the works of Ida Bagus Rai and I Gusti Ketut Kobot.

c. Ubud Style Painting: Works with Western influences first appeared after the 1920s in Ubud area (Gianyar), Artists Walter Spies (Garman) and Rudolf Bonnet (Dutch) lived in the area and introduced Western aesthetics of light and shadow, depth, and anatomy. Anak Agung Gede Sobral and Dewa Putu Bedil adapted these ideas for scenes of daily life, dances, and ceremonies.

d. Batuan Style Painting: Works with less influence from Western aesthetics developed in Batuan village (Gianyar), where resident foreigners during the 1930s were not artists. Painting by Ida Bagus Togog and Ida Bagus Wija are dense with stylized figures, distorted perspective, or multiple views. I Made Budi and I Wayan Bendi paint caricatures of visitors in typical tourist activities.

 

II. ARIE SMIT PAVILION

a. Paintings by Arie Smit: A master of color and composition, Dutch-born Indonesia artist Arie Smit shows the beauty and inner rhythms of Bali in his works. With a " broken colors technique, he shows breath-taking landscapes, relaxing youths, and quite temple which evoke a sense of wonder.

b. Young Artists Style Painting: In Penestanan village near Ubud during the early 1960s, Arle Smit gave young teenagers painting materials and encouraged them to create. Among many others, I Nyoman Tjaka and Ketut Soki painted colorful naive scenes of ceremonies, rice harvests, and daily life.

CONTEMPORARY BALINESE PAINTING: Other Balinese works include humorous ink paintings by Ida Bagus Nyoman Rai and supernatural themes by I Ketut Budiana. More modern style from cubism to abstract expressionism are done by I Nyoman Tusan, I Made Wianta, I Nyoman Gunarsa, I Made Sumadiyasa, I Wayan Kun Adnyana and other academically trained artists.

 

III. AFFANDI PAVILION: Beautiful works by Affandi Koesoema, Indonesia's most famous Maestro of expressionism, illustrate with thick impasto of vibrant colors by scraping paint off the tube and smoothing it out with his fingertips.

 

IV. LEMPAD PAVILION: Unique works by I Gusti Nyoman Lempad, Bali's most famous Maestro, illustrate in flowing ink lines with touches of red and gold sorme Balinese folktales and Indian epics. He was also an undagi (Traditional Balinese Architect), and a Traditional Sculptor for Balinese Rituals.

 

V. INDONESIAN CONTEMPORARY PAVILION: A wide range of styles based on western techniques have been done by, Abdul Aziz, Srihadi Soedarsono, Soebroto, Roedyat Martadiraja, and artists from other islands of indonesia.

 

VI. EAST-WEST ART ANNEX PAVILION

a. Contemporary Indonesian Art: The lower floor features a continuation of the Indonesian Contemporary Pavilion with works by important artists like Sindutomo Sudjojono, Hendra Gunawan, Lee Man Fong, Dullah, Widajat, Anton Kustia Widjaja, Abas Alibasyah, Bagong Kussudiardjo and artists from other islands of Indonesia.

b. Art by Artists from Abroad: The upper floor features works by important Westem artists, such as romantic portraits by Rudolf Bonnet and Willem Gerard Hofker (Dutch), romantic-expressive and dreamy portraits by Antonio Maria Blanco (Spanish- American), fantasies by Donald Friend (Australian), and tropical scenes by Theo Meler (Swiss). Among the Asian Artists featured on this floor, include brilliant abstracts by lyama Tadayuki (Japan), detailed realism by Chang Fee-Ming (Malaysian), sensuous nudes by Teng Nee-Cheong (Singaporean), vibrant figures by Jeremiah Elizalde Navarro (Filipino), unique allegorical figures by Kelichi Baba (Japan), and shimmering landscapes by Paul Nagano (Japanese American).

 

VII. PHOTOGRAPHY PAVILION: A black and white photograph of Balinese art and culture from the 1930s to the early
1940s by Robert Koke from the United States. It is an interesting resource for him to look at the appearance of dancers and rituais of a very creative era. He captured beautiful photographs of Kebyar Terompong Dance, Kecak Dance, Kebyar Duduk, Dance, Ngaben (cremation ceremony) and the daily life in Bali Traditional Market.