Johan Rudolf Bonnet

The Artwork of Johan Rudolf Bonnet

Born in March of 1895 in Amsterdam, Johan Rudolf Bonnet was a Dutch artist who immersed himself in the culture and landscape of the Indonesian province of Bali. Particularly interested in the subject of portraiture, he took great care that his subjects were represented to the highest classical standard. Bonnet was keenly aware the colonial Dutch East Indies’ indigenous populations faced a fragile future in the twentieth-century world.

In the 1920s, Bonnet traveled around Europe and spent a substantial amount of time in Italy, particularly Florence where he learned the art of fresco painting. Inspired by the work of the Italian Renaissance, he sought to capture the emotions and expressions of Balinese life as seen through European eyes that cared deeply for the richness of life the island offered. Bonnet’s body of work draws parallels with the art of Renaissance painter Michelangelo Buonarotti, whom he considered one of his greatest examples, not in the least because they were both trained as mural painters.

Rudolf Bonnet used his draftsman training to create works with a subtle palette and clean lines. His work showed both his keen observation as well as his deep respect for his subjects and their culture. Influenced by the Art Nouveau movement in the early twentieth-century; Bonnet was used to stylizing his model’s faces, often elongating them. Yet, they would never become caricatures; they would always remain dignified and autonomous. It was Bonnet’s way of emphasizing the beauty he perceived.

Born to descendants of a Dutch-Huguenot family, Johan Rudolf Bonnet attended Amsterdam’s State Academy of Fine Arts and its National Arts and Crafts School. In 1920, he traveled to Italy where he produced a collection of drawings depicting village scenes, local people and landscapes. Bonnet rented a studio for several months in Rome and, during his stay in the city, met Dutch painter and printmaker Wijnand Otto Jan Nieuwenkemp. As the first European artist to visit Bali, Nieuwenkemp persuaded Bonnet to explore that country which had so impressed him. Bonnet first traveled to North Africa; the paintings exhibited and sold on this trip enabled him to continue his voyage to Bali.

Rudolf Bonnet arrived in Balit in 1929 and met German artist Walter Spies and the Dutch musicologist Jaap Kunst. With Kunst, he made a trip to the Indonesian island of Nias, which lies off the western shore of Sumatra. Upon his return to Bali in 1930, Bonnet was invited to live in town of Ubud by Cokorda Gde Raka Sukawati, an elected member of the Volksraad, the People’s Council. In 1936, Bonnet, along with Walter Spies, Cokorda Sukawati, and painter and sculptor I Gusti Nyoman Lempad, formed the Pita Maha (Great Spirit, Guiding Inspiration) artist association to select artists whose work could be exhibited and sold throughout the Indies, the Netherlands, and the United States.

After the outbreak of the war in Europe, Bonnet remained free in Bali until 1942 when the Japanese invaders ordered him sent to the Indonesian island of Sulawesi. He spent the remainder of the war inside internment camps in Bolong, Para-Para and Makassar. Walter Spies was arrested as a German national and was interred by the Dutch authorities in Bali as an enemy alien. In 1942, he and four hundred seventy-seven other German internees were deported by the Dutch to Ceylon. Their ship was bombed by Japanese planes; Spies and most of the other prisoners died at sea.

In 1947, Rudolf Bonnet returned to Bali where he built a house and studio in the Campaun area of southeastern Bali. Although the Dutch and Indonesian governments were in a period of worsening relations, he was able to reside in Bali due tohis relationship with President Sukarno, who had collected fourteen of Bonnet’s paintings. Bonnet founded the Golongan Pelukis Ubud (Ubud Painters’ Group) and created designs for Bali’s Museum Puri Lukisan, the Royal Museum of Paintings.

In 1957, Bonnet was expelled from Indonesia after he refused to finish President Sukarno’s portrait. He did not return to Bali until 1972, two years after Sukarno’s death. Upon his return, Bonnet assisted in the Royal Museum’s expansion and organized its opening exhibition. He died in Laren, Holland in April of 1978 after a long illness. Johan Rudolf Bonnet was cremated and the ashes brought to Bali. These ashes were combined with the ashes of his long-time friend Cokorda Gde Agung Sukawati, who had died in 1967, and were burnt together in a great cremation ceremony.

Rudolf Bonnet’s work is housed in many private collections and the collections of the Rijksmuseum Kroller-Muller in Amsterdam, the Neka Art Museum in Bali, and the Singer Museum in Laren, Holland. Founded in 1980 and supported by donations, the Rudolf Bonnet Foundation Netherlands supports Balinese artists and brings their work to the Netherlands for exhibitions.

Second Insert Image: Johan Rudolf Bonnet, “Self Portrait”, 1927, Pastel on Paper

Third Insert Image: Johan Rudolf Bonnet, “Male Torso”, Date Unknown, Color Pastels and Watercolor on Paper, 63.5 x 50 cm, Private Collection

Bottom Insert Image: Johan Rudolf Bonnet, “Self Portrait”, 1976 , Crayon and Pastel on Paper

Calendar: April 10

A Year: Day to Day Men: 10th of April

In Cool Water

Mount Tambora’s eruptions reached a violent climax on April 10, 1815.

Mount Tambora is on the island of Sumbawa in Indonesia. It experienced several centuries of dormancy before 1815, caused by the gradual cooling of the hydrous magma in its closed magma chamber. During this cooling, crystallization of the magma occurred. resulting in an over-pressurization of the chamber and a rising of the temperature. In 1812, the volcano began to rumble and generated a dark cloud.

On the 5th of April in 1815, a very large eruption occurred, followed by thunderous detonation sounds heard in Makassar on Sulawesi 240 miles away, and as far as Ternate on the Molucca Islands 870 miles away. On the morning of April 6, volcanic ash began to fall in East Java with faint detonation sounds lasting until the 10th of April. Detonation sounds were heard on April 10th at Sumatra, more than 1,600 miles away.

At about 7 pm on April 10th, the eruptions intensified. Three columns of flame rose up and merged. The whole mountain was turned into a flowing mass of “liquid fire”. Pumice stones of up to 8 inches in diameter started to rain down around 8 pm, followed by ash at around 9–10 pm. Pyroclastic flows cascaded down the mountain to the sea on all sides of the peninsula, wiping out the village of Tambora. Loud explosions were heard until the next evening, April 11. The ash veil spread as far as West Java and South Sulawesi.

The explosion had an estimated Volcanic Explosivity Index of 7 (on a scale of 0 to 8) making it one of the most powerful in recorded history. An estimated 10 cubic miles of pyroclastic rock were ejected, weighting about 10 billion tons. This left a caldera measuring about four miles across and 2,300 feet deep. Before the explosion, Mount Tambora’s peak elevation was about 14,100 feet, making it one of the tallest peaks in the Indonesian archipelago. After the explosion, its peak elevation had dropped to 9,354 feet, about two thirds of its previous height.

The 1855 Zollinger report puts the number of direct deaths at 10,000, probably caused by pyroclastic flows. On Sumbawa island, 38,000 people starved to death; on Lombok island about 10,000 people died from disease and hunger. However, other journal reports put the combined deaths from volcanic activity and from post-eruption famine and epidemic diseases higher at 70,000 to 100,000 people. The ash from the eruption dispersed around the world, lowering global temperatures and triggering harvest failures.

Calendar: February 17

Year: Day to Day Men: February 17

Attention Caught

The seventeenth of February in 1674 marks the date of the Ambon earthquake in the Maluku Islands, the first detailed documentation of a tsunami in Indonesia and the largest ever recorded in that country.

The geological area of the Indonesian North Maluku Islands is located in the zone of convergence between the Eurasian, Indo-Australian and Pacific tectonic plates. This area is dominated by a complex mixture of tectonic elements, including collision, subduction and vertical fractures which shift horizontally. In the search for the cause of the Ambon earthquake, immediate to deep-focus earthquakes with a depth of sixty kilometers or more were ruled out as the source.

Known historical events of that type did not generate the scale of tsunami that struck the islands. The 1938 Banda Sea earthquake, which had a magnitude of 8.5 and Rossi-Forel intensity of VII (very strong tremors), generated a minor tsunami of only 1.5 meters (5 feet). Researchers ruled out faulting as a source because the Ambon earthquake had an extreme run-up height of at least 100 meters on the northern shore of Ambon,

The likely source of the tsunami appears to have been an earthquake generated undersea-landslide. Although never confirmed, two faults are seen as likely sources of that landslide; the South Seram Thrust and an unnamed fault found on the island of Ambon. Published research journals have not assigned a magnitude to the event; however, from collected databases, it has been estimated as an earthquake with the magnitude of 6.8 at a depth of 40 kilometers (25 miles).

A German botanist employed by the Dutch East India Company in 1652, Georg Eberhard Rumphius was assigned in 1654 to the Ambon archipelago. Accompanied by his wife and two daughters, he assumed the position of merchant in 1662 and, on his own time, undertook a study of the Spice Islands’ flora and fauna. Rumphius and his family were present on the island at the time of the 1674 earthquake; his account of the earthquake is the first detailed documentation of a tsunami in Indonesia.

The Ambon earthquake occurred on Saturday evening, between 19:30 and 20:00 Eastern Indonesian Time, when the island inhabitants were celebrating the Chinese Lunar New Year. The shaking earth rang the large bells on the local Victoria Castle and knocked people off their feet.

The collapse of seventy-five stone buildings killed eighty-four people and injured another thirty-five. Water spurted into the air from wells and the ground, some upwards to 6 meters (20 feet). Clay and sand also erupted from the ground. Among the dead from the earthquake were Rumphius’s wife and two daughters, killed by a collapsing stone wall.

Immediately after the earthquake, a mega-tsunami swept through the coastal areas of Ambon Island. The earthquake produced a tsunami which reached heights as much as 100 meters (330 feet) and nearly crested the coastal hill areas. This tsunami resulted in the additional deaths of over two thousand individuals.

Notes: The translated summary notes of Georg Everhard Rumphius on the 1674 Ambon and Seram earthquake are recorded in the files of UNESCO, the United Nations Educational, Scientific and Cultural Organization. These notes are located at: https://iotic.ioc-unesco.org/1950-ambon-tsunami/1674-tsunami-in-ambon-and-seram/

Imam Sucahyo

Imam Sucahyo, “Nightmares”, Acrylic and Marker on Canvas, 2008, 50 x 78 Inches

Imam Sucahyo is a self-taught artist who was born in Tuban, a small city on the north east coast of East Java, Indonesia. His interest in art began after discovering a book in his school’s library about Affandi, Indonesia’s master painter known for his expressionist style. After the deaths of his wife and mother, he moved to Surabaya, the capital city of East Java in 2014. There he met like-minded people and, through social media, Imam Sucahyo’s artwork attracted the followers of the Art Brut movement.

The intimacy of the subject in Imam Sucahyo’s “Nightmares” defies its own scale. Color, texture, and space merge to create a series of visual riddles. The feel of landscape, death and burial, a floating figure, red sky, horizontal figure at the top, and the encasement of the form in high contrast linear definition, all work together in a feeling of earthy, somatic spirituality.

Color temperature evokes literal associations (earth, sky, blood) within an alternating visual tension and relief across the canvas in a lateral back and forth motion. The intuitive decisions about composition seem to be as much about discovery as invention…as if the image had always been there, just between consciousness and sleep.

Anak Krakatau

Anak Krakatau

Anak Krakatau has grown at an average rate of five inches (13 cm) per week since the 1950s. This equates to an average growth of 6.8 meters per year. The island is still active, with its most recent eruptive episode having begun in 1994. Quiet periods of a few days have alternated with almost continuous Strombolian eruptions since then.

Hot gases, rocks, and lava were released in an eruption in April 2008. Scientists monitoring the volcano have warned people to stay out of a 3 km zone around the island. Several videos of Krakatoa on YouTube show recent footage of eruptions and of the inside of the crater as seen from the rim of the volcano.

On 6 May 2009 the Volcanological Survey of Indonesia raised the eruption alert status of Anak Krakatau to Level III. A Level Three alert signifies an increasing tendency toward eruption, relatively high unrest, and magna close to the crater. A recent expedition to the volcano has revealed that a 100-meter (328-foot)-wide lava dome is growing in its crater. The dome has two active vents that eject incandescent gas.

Ichwan Noor

Ichwan Noor, Volkswagen Spheres and Cubes

Jakatara- based Indonesian sculptor Ichwan Noor takes the iconic components of vintage VW vehicles and warps them into perfect spheres and cubes. The large-scale sculptures leave the uncanny impression of being instantly recognizable, yet leaving you wondering just how the artist constructed them. It’s the immediate familiarity that initially attracted Noor to using the cars as a medium in the first place. “I see the VW Beetle as one of the most successful designs, one that people will always be familiar with,” he says about the ongoing sculpture series. The artist most recently exhibited a new Beetle Sphere at Art Stage Jakarta in 2016.

The Ayam Cemani Chicken

The Ayam Cemani Chicken

Ayam Cemani is an uncommon and relatively modern breed of chicken originating in Indonesia. They have a dominant gene that causes hyperpigmentation (also termed as Fibromelanosis) leading to the skin, feathers and even the internal organs appearing dark black.

The breed originated from the island of Java, Indonesia and was probably in use for centuries and used for religious and mystic rites. They were first described by Dutch colonial settlers. It was first imported into Europe in 1998 by Dutch breeder Jan Steverink. Currently stocks are kept in the Netherlands, Germany, Slovakia and the Czech Republic. It is thought that Ayam Cemani may also earlier have been brought to Europe by Dutch seamen who had numerous contacts in both Africa and Asia.

The birds are completely black: black plumage with a greenish shine, black legs and toe nails, black beak and tongue, black comb and wattles; even their meat, bones and organs appear black. The blood of the Ayam Cemani is normal (though it is remarkably dark). The birds’ black colour occurs as a result of excess pigmentation of the tissues, caused by a genetic condition known as fibromelanosis. This gene is also found in some other black fowl breeds. The roosters weigh 2–2.5 kg and the hens from 1.5–2 kg. The hens lay cream-colored eggs with a slight pink tint, although they are poor setters and rarely hatch their own brood.

Garuda

Bayan Gandung, “White Garuda Mask”, Indonesia

Garuda is the vahana, or the carrier, of Lord Vishnu. Garuda is depicted as having the golden body of a strong man with a white face, red wings, and an eagle’s beak and with a crown on his head. He was said to be massive, large enough to block out the sun.

His stature in Hindu religion can be gauged by the fact that a dependent Upanishad, the Garudopanishad, and a Purana, the Garuda Purana, is devoted to him. Various names have been attributed to Garuda – Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Śyena, where this mighty bird is said to have brought nectar to earth from heaven.

However, the interesting thing is that Garuda is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sankarshana, Pradyumna and Aniruddha forms). The important point is that Garuda represents the five vayus within us : prana, apana, vyana, udana, samana through his five forms Satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini awakening leading to higher levels of consciousness.

Thanks to http://www.worldtribalmasks.com

Green Tree Python

Green Tree Python: Native to New Guinea, Islands in Indonesia, and Cape York Peninsula in Australia

The Green Tree Python is characterized by a relatively slim body. The relatively long tail accounts for about 14% of the total length. The head is large and clearly defined from the neck. The snout is large and angular. The body is triangular in cross section with a visible spine. The species usually reaches a total length of 150-180 cm (4.9-5.9 ft), but large females may reach 200 cm (6.6 ft). The size also varies depending on the region of origin.

Asmat Tribe Ancestral Skull

Asmat Tribe Ancestral Skullwith Carved Bone, Feathers, Fibers and Seeds

The first apparent sighting of the Asmat people by explorers was from
the deck of a ship led by a Dutch trader, Jan Carstensz in the year 1623.
Captain James Cook and his crew were the first to actually land in Asmat
on September 3, 1770 (near what is now the village of Pirimapun).
According to the journals of Captain Cook, a small party from the HM Bark Endeavor encountered a group of Asmat warriors; sensing a threat, the explorers quickly retreated.

The Asmat are an Indonesian cannibalistic tribe on the island; Papua. The Asmat live in mangrove vegetation near the sea and rivers, on the south side of the western part of New Guinea. The Asmat venerated their ancestors by decorating and honoring their skulls. Asmat decorated skulls are displayed in sacred places inside Asmat domiciles.