A. ENTRANCE HALL: The ground floor for admission and depositing the prohibited guest’s staff. The administrative office and an extensive non-lending research library are on the upper level. Toilets are located on the lower floor.

B. BOOK SHOP  You can find many  books  that published by Dharma Seni Foundation  and  a wide selection of books on a wide range of subjects, postcards of selected works from the collection.

C. SOUVENIR SHOP   Merchandise  and a large selection of Indonesian souvenir gift items.

D. RECEPTION PAVILLION: With a panoramic view and cool breezes, this is an ideal place to relax and enjoy some refreshments after your visit. You can get coffee or tea and eat light meal or cake in the café.

E.  Srimin and Suteja HALL   Open hall for  meeting, conference and party.

F. MEETING PAVILION: This is the open-sided  bale dangin (eastern pavilion) traditionally used for  family ceremonies. It is a perfect place to pause during your visit.

G. TOILETS are conveniently located throughout the museum grounds and in a small building in the parking area near the main entrance.

VIII. TEMPORARY EXHIBITION HALL: Works by new and established artists from Indonesia and abroad are available for purchase. Occasional exhibitions are held on two floors.

To encourage cross-cultural appreciation of painting in Bali, selections from the museum have been displayed in Australian, Holland, Japan, Singapore, and the USA. Please enjoy your visit to one of Indonesia’s best museums of art inspired by Bali.

I. BALINESE PAINTING HALL

a. Puppet style Painting: 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 Sobrat 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, Arie Smit gave young teenagers painting materials and encouraged them to create. Among many others, I Nyoman Tjaka and Ketut Soki painted colorful naïve 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 Sumadiyasa, and other academically trained artists.