Lempad of Bali: The Illuminating Line, the first catalogue raisonné of the work of internationally acclaimed Balinese artist Gusti Nyoman Lempad (~1862-1978), was recently published to accompany the first retrospective exhibition of his drawings. The exhibition continues at the Museum Puri Lukisan in Ubud, Bali through 24 November.
At 424 pages with more than 500 reproductions of Lempad’s drawings, the large-format book is a groundbreaking work of discovery. Essays by six distinguished scholars of Bali, explore Lempad’s life, work, and death; his sources of inspiration; his drawing style and technique; and the cultural and historical context of Hindu-Buddhist stories, art, and religion related to his work. Relatively few of these Lempad drawings have been published before as much of this work left Bali in the 1930s with the departure of European and American collectors.
“Lempad witnessed Bali’s history over more than 100 years from pre-colonial times to the beginning of mass tourism. Yet his work is still so modern that it carries important lessons about the future of Balinese art and the depth of its roots in the island’s culture,” said Soemantri Widagdo, chief curator at the Puri Lukisan and a co-author of Lempad of Bali.
“Our research was a detective story. We found early drawings that have not been seen in Bali since before World War II. We were able to track down work in museums and private collections all over the world. One knowledgeable person led to another. Library and museum archives and auction records revealed surprises and lost drawings. It was exhilarating to find surviving work across four continents.”
The exhibition and book “brought Lempad back to Bali,” said David Irons, an independent curator who works with the museum. “More than 1000 people were at the opening, including hundreds of artists young and old, who came from all over the island to welcome him home.”
From Pierre Nachbaur Art
A towering presence in Balinese art, I Gusti Nyoman Lempad (1863-1978) was the greatest Balinese artist of the 20th century. He lived a life of mythical proportions, gaining wide recognition from the local art community as well as from foreign anthropologists, researchers and artists who lived in Bali during the 1920s and 1930s, the most revolutionary period of Balinese art.
With 400-plus pages of original images and reproductions of drawings and sketches, many never before published, Lempad of Bali is the first truly comprehensive catalogue of the artist’s life and work. Of the estimated 1000 works of art that this multi-faceted genius produced in his lifetime, this mammoth book has reproduced 600 of them, about 90% of Lempad’s total output. The great artist has finally been given his full due!
Recognizing his son’s artistic talent before the age of 10, Lempad’s father Gusti Mayukan, a traditional architect, put his young son to work assisting him on his many building projects. In his teens, Lempad’s family fled their home in Blahbatuh when the father was threatened with exile. The family found political asylum with the royal family of Ubud. The timing was perfect as Puri Ubud was in the process of rebuilding, and their skills were welcomed.
Refined, humble and introverted, Lempad belonged to a class all his own. The great artist lived a long and fruitful life doing not much else but producing a body of work that has been unmatched. Still drawing at 100 years old, his life story reads like a gilded fairy tale. He lived from the age of omnipotent feudal princes to that of astronauts. Gathering his family around him in his final moments, he died a conscious death in 1978 at the age of 117.
Considered one of the first modern Balinese artists, Lempad’s greatest gift was his wild and fertile imagination. Don’t expect in Lempad an Albrecht Durer or M.C. Escher. Starting in the 1920s, Lempad attracted notice for his line drawings that were a futuristic adaptation of figures from the wayang pantheon. Though I couldn’t imagine his repulsive sharped toothed demons, fierce witches with lolling tongues, dragon-headed spirits, tortured souls with trailing intestines, giant roosters with umbrellas and animal-headed babies up on the walls of my home, they nevertheless are mesmerizing to look at. Lempad also created works depicting “happy natives” going about their daily lives – slaughtering pigs, grilling satay, weaving textiles, placing offerings, suckling infants, delousing relatives, carving doors, getting married and working rice fields – which were in high demand by Westerners who had little understanding of religious imagery.
Bali Advertiser, 4 March 2015
… do please come to the opening of “Illuminating Line: Master Drawings of I Gusti Nyoman Lempad” and the book launch of Lempad of Bali: The Illuminating Line on Saturday at 6:00 PM at the Museum Puri Lukisan, Jalan Raya, Ubud.
One hundred Lempad images, most of them not seen in Bali since before WWII, are now hanging at the museum.
We’re expecting 1000 people; we plan to feed them all; and we’re hoping you can make it, too.
The drawing below, “Ni Bawang Decorated by the Birds of the Forest,” is from the collection of the Vienna Ethnographic Museum. A detail appears on the cover of Lempad of Bali.
I’m returning to Bali next week to help design and mount the exhibition “Illuminating Line: Master Drawings of I Gusti Nyoman Lempad” at Ubud’s Museum Puri Lukisan.
If you would like to “help bring Lempad back to Bali” there’s a FundRazr campaign here where a $150 contribution will cover the cost of bringing a Balinese village painters association to the exhibition or place a catalog in an Indonesian university or art museum library.
And if you would like to buy Lempad of Bali: The Illuminating Line, the exquisite catalog of the exhibition with 500 rarely seen Lempad drawings, the Museum Puri Lukisan is offering a pre-publication special price here.
Bidding started at IDR 15 million at ARMA last Sunday for a 1973 painting of Kala Rahu.
The work, signed on the back by I Ketut Madra and on the front by his then-teen-age student Dewa Nyoman Pyadnya, shows Kala Rahu in the heavenly garden of the gods about to drink the elixir of immortality (tirta amerta). He is spotted by Ratih, goddess of the moon at upper right; she alerts Wisnu (just below), who prepares to hurl his spiked and razor-edged discus (cakra) at the intruder.
The work was selected by Larasati from about 20 pieces in the recent Museum Puri Lukisan exhibition, “Ketut Madra and 100 Years of Balinese Wayang Painting.” Larasati chose the painting in part because this scene from the Kala Rahu story is rarely shown in Balinese art and in part for the clarity of the representation of all the attending deities.
Ketut Madra had four apprentices in 1973. It was the traditional way for a young person to learn to paint. The student would live at the master’s house, help to prepare canvas and tools, and learn the ancient stories of the wayang kulit and the technique of capturing them on paper and canvas.
Dewa Nyoman was Madra’s most talented student that year by far. For a large work on canvas such as this, his assistance, under close supervision, would include adding shading to the line and then some of the color after the fully inked drawing of each element had been completed by Madra.
There were five bids for the work and the auction hammer fell at 19 million rupiah.
I still don’t know who bought the piece.
Perhaps my greatest pleasure at the opening of Ketut Madra and 100 Years of Balinese Wayang Painting on October 7 was seeing the joy the event gave this modest 73-year-old artist.
Most of the guests at the opening were Balinese and about half of them were fellow artists who wanted to have their picture taken with Madra.
And Puri Lukisan curator Agung Muning (below right) finally realized the wish of his old friend Rudolf Bonnet to have Madra’s work in the museum’s permanent collection.
Ketut also reconnected with old friends: Rucina Ballinger (left) and Rio Helmi (right) who’ve known him for almost 40 years introduce him to Catriona Mitchell.
Madra and Ketut Sudarsa with one of their favorite paintings from the Tebesaya Gallery….
Verra Mulianingsih and Luh Windiari, who translated the exhibition catalog into Indonesian, on Ketut’s right and left, with Julie Boak and Ketut’s wife Wayan Konderi on the right…
And Ketut and me as the show began.
At top left, Agung Muning, curator at the Museum Puri Lukisan where he has worked for the past 59 years, plus a few installation shots of the exhibition “Ketut Madra and 100 Years of Balinese Wayang Painting” at the Musuem Puri Lukisan in Ubud, 7 October to 10 November, 2013. Photos by Anggara Mahendra.
Ten children from Yellow Coco, the art workshop in Nyuhkuning, showed up for a Galungan gallery talk on Balinese wayang painting as children’s stories.
Yellow Coco, which brings Balinese and expat children living near Ubud together for out-of-school lessons in art, music, dance and creative expression is led by Susan Allen (below, left) and her husband Susiawan.
Susiawan caught me in the photo below expressing the surprise felt by Surya, god of the sun, and Aruna, the grat bird who carries him across the sky, when the young Hanoman, mistook the rising sun for a ripe red fruit.
The painting of Hanoman and Surya above is by Gusti Ketut Kobot (1917-1999) of Pengosekan. Peliatan painter Ketut Madra’s version of the same story appears below. Kobot’s work shows the astonishment of Surya and Aruna in the moment. Madra’s captures the same scene a few seconds later after Surya and Aruna realize that their “attacker” is the already powerful and impetuous young Hanoman. (A detailed photo of the Madra version of the story appears in the invitation to the opening, three posts below this one).
Ketut Madra and 100 Years of Balinese Wayang Painting continues at the Museum Puri Lukisan until Thursday, 7 November.