The painting of Lee Man Fong and his biography

Lee Man Fong was born on 14 November 1913 in Guangdong, China. Fong moved to Singapore in 1917 and studied at Anglo-Chinese school until 1929. Migrated to Java in 1932 and worked for Kolff, a Dutch printing and publishing. In 1936, the head of the Dutch East Indies in Batavia Fong Association invited to participate in an exhibition, a great honor because it was the first Dutch artist to be given this invitation. He was married to lie Muk Lan - pianist - and his son Lee Rem, born 1938, was also a painter who later presented with his father.

After 1940, Fong was devoted full time to painting. He visited Bali, briefly working there, and solo exhibitions, held in Jakarta and Bandung. Fong quickly gained recognition for his paintings of subjects in Bali, many influenced by the work of Willem Hofker. Then held a solo exhibition in Jakarta in 1941, after which he was interned by the Japanese.

In 1949, Fong received a scholarhip Malino to study art in the Netherlands Dutch. He was there for three years and then returned to Indonesia, where his talent was recognized by President Sukarno, who became an art consultant.

Fong from 1955 to 1961 served as president of Yinhua Meishu Xiehui (Society of Chinese Artists in Indonesia). From 1961 to 1966 he served as court painter at the presidential palace. In 1964, Lee Man Fong, along with Lim Wasim, compiled a 5-volume edition of the Collection of Soekarno, which also included many of his own works.

During this period Fong was granted Indonesian citizenship. In 1967, when Sukarno fell from grace, man Fong, who was considered close to Sukarno, and claimed to have Communist leanings, and this resulted in the artist's decision to move to Singapore in 1970. His career continued to flourish, and he often gave economic commissions by Chinese businessmen who wanted the painting of Chinese zodiac animals.

The 1980 Lee Man Fong suffered kidney and heart disease, and became increasingly private.

Lee Man Fong, who returned to Indonesia in 1985, died on 3 April 1988 in Jakarta.


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Tips to Getting Your art in a gallery

How does an artist approach a gallery with paintings, galleries and what for? I'd like to share what I went with after a small workshop with four directors from the art gallery, sponsored by Upstate Visual Arts. The galleries ranged from a manipulation of the only work of new artists to a gallery of dealing with the resident artists and high-end clientele.

What are Administrators Galleries Looking For?
Administrators to view photos as art, but art is not original. The best way to approach these managers is as follows:

* A CD of examples of his work. Failing that, slides or a small portfolio of printed works - anything that can be archived. The discs work best.
* Realistic expectations about the price and the number of pieces in the gallery show.
* Understanding realistic gallery commissions are about 40 to 50 percent. Some committees of the association of art are five to 10 percent, but you get what you pay - no reception, no advertising, and no printed takeout.
* Egotism Realistic - get your ego in check before entering.
* If you have to explain its deeper meaning, fogedabowdit! They sell art, not anxiety.

What kind of art galleries are there?
Not all galleries are the same. At the seminar, there were four types of galleries represented, each with their own needs.

At the upper end, a residential gallery represents a "matched" set of 11 artists and look to the other. To get there, you have to make friends with the resident artists, coincide with their customers, not compete directly. The aim of the gallery is to offer clients a set of art to suit your needs and tastes. This gives a value in the relationship between owners, artists, and clients.

Here is a gallery of 'show'. The administrator meets art national artists to meet the demands of a topic. The gallery is expected that each artist to Displaying 10 to 20 works and replace immediately sell. That means that the sending of 30 to 40 works for an exhibition. In this gallery, the relationship ends when the show ends. Only work sold during the show is commissionable. Artists can offer referral commissions for post-show but are not necessary. The objective of the owner of the gallery is to promote art, artists are not particular, and to build a customer base among large numbers of collectors.

Here is a gallery of new artists. To get here you can expect the manager to take only one or two examples of his work. Show n 'is done so commissions are lower. The aim of the gallery is to have higher end galleries artists steal. She also gets her kicks from the development of new collectors and suit your taste and budget against the new artists.

Finally, an art space Gallery Association. To obtain a sample here, simply apply for and obtain a set time. The fees are low because the association does not promote, advertise, or anything else. They have shown and cash when the sale takes place. The aim of this type of gallery is simply to show local artists and to provide its members with a gallery space, because there is a shortage of such space in the area.

The other option
As a side note, the galleries that deal with personally (none of those mentioned here) have artists in residence and put in programs to build your market and add variety to your preferred gallery. These galleries are all set with a story and I suspect that this model is the more economically viable. To obtain a sample in one of these galleries, which helps to make a project with one of their artists in residence or not doing their work presented to managers. In very few cases are brought to a walk-in in the gallery of a show.

An art gallery showing of his
Managers who participated in the workshop were very encouraging.

* They like to see the art and which will be at work. It can refer even if his job is not right for them. Know managers and other galleries and from the perspective of an artist, it helps to open a walk-in ", Sandy Smith, in the North Gallery suggested that show my work."
* They like the artists and collectors of game and enjoy each other. Be the kind of person that supports them in this and be grateful for his work on their behalf.
* Even if your work does not hang on their walls, that can help. If you are a painter or an artist painting landscapes or abstracts of still life, remember if you have a reference disk, a receiver or a client with a need, and your phone number. Business cards! Albums!

Tags: Art, Painting

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The enigmatic painter Itji Tarmizi in Remembering

A family is upset that a man and a woman and a child trying desperately to escape the smoking volcano behind them. His anxiety is skillfully conveyed through the expressions on their faces and gestures. The outlines of a somber tone of the oils, extensively applied either with a spatula or brush, set the tragic tone of the painting.

This representation is disturbing Tarmizi Itji work, the youngest member of Sanggar pelukis Rakyat (People's Studio painter), who was considered one of the most talented painters in the country.

Tarmizi died on 28 November after a brief battle with liver cancer. Immediately after being diagnosed with malignant disease, only two months, his friends prepared a solo exhibition at a gallery in Kebon Jeruk, West Jakarta, from November 23.

Although he managed to inspect preparations for the exhibition the day before it began, was in serious need of medical attention at the opening day and could not attend the party. It was to be his first and last solo exhibition, and had never seen his works on display.

The artist seems to have had a rather unfortunate life. He was hearing impaired, making it difficult for him to communicate.

In 1953, Hendra Gunawan joined in the studio. Their presence was noted by art historian Claire Holt, who mentions him, and even includes pictures of two of his paintings in his book Art in Indonesia. Tarmizi Paintings can also be found in the art collection of President Sukarno.

In the 1960s, was in his prime, and produced his best work. One of his most monumental work is an interpretation of the family of a fisherman on the north coast of East Java, watching the horizon, as if anticipating a future promising. The painting is done in a style derived from the school of Russian social realism and resembles the kind of realism developed in China.

Reports not yet clear whether Tarmizi learned their techniques of painting in Russia or China, but suggesting that he had actually spent some time studying in Russia. Although he had recently begun to reveal their past experiences, tended to avoid questions related to travel to Russia or China.

The Rakyat pelukis LEKRA received substantial support from the Institute of Popular Culture. After the abortive coup on 30 September 1965, members were persecuted pelukis Rakyat.

Virtually all colleagues Tarmizi were captured and imprisoned. Miraculously, the artist was able to escape and return to their homeland in Lintau, West Sumatra, where he lived under the protection of her grandmother.

For over 30 years throughout the New Order era, which produces very few works, the quality decreased. Although never physically imprisoned, was not free to express their feelings and thoughts. His grandmother, he learned the art of embroidery, and produced his own compositions, which seem to have a cosmological meaning.

Towards the end of his life, seems to wear the suit only one of its own design, embellished with embroidery symbolic. These designs do not appear in the extensive exhibition gallery.

Tarmizi reappeared in the art scene in Indonesia after the fall of the New Order in 1998. By chance, a number of his works appeared in old art auctions in Indonesia and managed to see them. He also revisited his old works, many of which are still standing proudly in the homes of major art collectors.

Earlier this year, met with the painting of the fishing village of East Java. He spent a while watching the scene. It was like a father looking over his long lost son. He was inspired to paint again.

Although he worked hard to re-develop their skills in painting, his recent works lacked the strength evident in its output since the 1950s and 60s. In short, who had been out of practice for over thirty years.

Di Akhir Abad (End of the Century), completed at midnight, 31 December 2000, is a painting inspired by the monumental painting 1960 of the family in the fishing village in East Java. However, the figures in the aspect of recent work, such as primates, unlike the characters in the film Planet of the Apes, painted in pastel shades. To be honest, is very far from the previous piece.

Perhaps with practice, Tarmizi could be resurrected to become one of the greatest painters of Indonesia, but his health failed him. What I most regret not being able to conduct a proper interview with him. Communication with him was always very difficult.

Meirizal, his nephew, would spell out the questions asked him letter by letter, and then he answered his manner of expression, which was not easy to understand. His nephew, also would have to interpret what he was trying to say that let me understand what he meant.

Tarmizi enigmatic character and experiences were fascinating and important for us to know and understand. Unfortunately, his knowledge is gone forever and can only be studied through their artwork.

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