Basuki Abdullah, 1915 – 1993
Basuki Abdullah: 1 nejznámějších obrazů
Z všech obrazů autora Basuki Abdullah je nejznámější dílo Portrait of Theodorus Maria Vlaming (1859-1935) (1934); visí v Museum Catharijneconvent, Utrecht. Z 1 děl umělce Basuki Abdullah v našem katalogu je těchto 1 nejuznávanějších, z nichž každé je uvedeno s datem vzniku, muzeem a příběhem.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026.
- Narození · úmrtí
- 1915 – 1993, Surakarta
- Díla v našem katalogu
- 1
- Nejslavnější
- Portrait of Theodorus Maria Vlaming (1859-1935) (1934)
- Nejvíce děl v muzeích
- Museum Catharijneconvent
10 nejslavnějších obrazů autora Basuki Abdullah
Kde visí plátna umělce Basuki Abdullah
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Basuki Abdullah | Obrazy z tohoto seznamu |
|---|---|---|---|
 Museum Catharijneconvent |
Utrecht | 1 | Portrait of Theodorus Maria Vlaming (1859-1935) |
Rok od roku: nejuznávanější plátna umělce Basuki Abdullah
Rok 1934 zahrnuje všechna plátna s datem vzniku od Basuki Abdullah na této stránce: zde jsou, od těch nejslavnějších.
Vaše otázky k obrazům autora Basuki Abdullah, odpovědi
Který z obrazů autora Basuki Abdullah je nejuznávanější?Přečtěte si odpověď
Portrait of Theodorus Maria Vlaming (1859-1935) (1934)
Kolik let bylo Basuki Abdullah ve době vzniku díla Portrait of Theodorus Maria Vlaming (1859-1935)?Přečtěte si odpověď
Basuki Abdullah, narozen 1915, měl 19 let: dílo Portrait of Theodorus Maria Vlaming (1859-1935) pochází z roku 1934.
Kolik obrazů autora Basuki Abdullah je známo?Přečtěte si odpověď
V našem katalogu je 1 děl umělce Basuki Abdullah.
Která muzea uchovávají nejznámější plátna umělce Basuki Abdullah?Přečtěte si odpověď
Většinou v Museum Catharijneconvent (Utrecht); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
Basuki Abdullah: příběh malíře
The Brush and the Shadow
In the quiet corners of Surakarta, a life began that would eventually trace the contours of Indonesian identity through paint. Born Muhammad Basuki Abdullah, he moved through a world of shifting loyalties and changing borders. His hands learned the language of realism, a way of seeing that sought to capture the physical truth of a subject. He spent time in The Hague, absorbing the formal training of a different continent, before returning to a landscape shaped by the complexities of the Japanese occupation. During those years, he taught art, passing on the mechanics of sight to others while his own vision continued to sharpen.
His work did not shy away from the weight of a face or the texture of skin. He moved between the private world of the studio and the public stage of national life. His skill was such that he was asked to paint the official portrait of President Suharto, a task that placed his hand at the center of the country's visual history. He lived a life of deep transitions, moving from one faith to another, and eventually, his life ended abruptly in his Jakarta home during a break-in.
A Life in Detail
The details of his existence are held in the objects and images he left behind. His presence is felt in the museums that preserve his memory and the specific ways he observed the world around him.
- The formal training received in The Hague.
- The role of art teacher during the Japanese occupation of the Dutch East Indies.
- The recognition gained through an art contest held for the accession of Queen Juliana in the Netherlands.
- The establishment of the Basoeki Abdullah Museum in South Jakarta.
The Weight of the Image
His legacy is not found in abstract ideas, but in the tangible presence of his paintings. In the Museum Catharijneconvent in Utrecht, a portrait of Theodorus Maria Vlaming from 1934 remains as a quiet witness to his early precision. His collection, now housed in a museum in South Jakarta, includes more than just canvases; it contains the masks, puppets, and weapons that occupied his personal space. These objects, alongside his paintings, offer a view into a man who saw the world through a lens of strict realism, capturing the essence of his subjects through the careful application of pigment.