| Ubud Style |
|
|
|
|
By the late 1920's, painting in Bali had met a serious decline, caused in-part by few new commisions for temples and religious ceremonies. However, at this time a few Western artists began to visit and work in Bali. Russian-born painter Walter Spies settled in Ubud and was soon joined by Dutch artist Walter Bonnet. These two artists styles were extremely influential with local artists. Their classical European painting technique, and choice of subject matter was completly new to Bali. Together with a local art patron, Cokorda Gede Agung Sukawati, Bonnet and Spies formed an orgainzation called Pita Maha, meaning "Great Vitality" or "Strong Detirmination." The goal of this orgainzation was provide guidance to local painters, help develop painting skills and develop a market for the artist's work. The organization had nearly 100 members by the end of the 30's. The influence of the Pita Maha was significant. Balinese artists began to turn to local everyday scenes as their subject matter, as opposed to traditional religious themes.
Additionally, the artists began adding depth and shading in human forms, perspecitve and color to paintings that had traditionally been composed primarily of earth tones. The paintings now reflected singular scenes of Balinese life, such as work in the rice fields, shopping in the marketplace, and bathing. Works of this period became known as the Ubud style, once again named after the village they originated in. Bonnet and Spies brought with them tempera and water colors. Balinese artists judiciously incorporated these media into their painting style. Bonnet's drawing style influence is evidenced in local work by more careful attention to rendering the human form, subjective lighting of figures, and depth of field incorporated on canvasses. Spies work was more mystical, influenced in style by Rousseau. Local artists adapted and interpretated these influences into their own style and took their inspiration form the lush surrounding land and people. In addition to perspective and tool changes, the Pita Maha, with the tireless effort of Bonnet, staged a series of exhibitions and heavily promoted local art to collectors throughout the world, thereby making it possible for some Balinese artists to earn an adequate living from their work. Through this, paintings began to be produced for their own sake, as an art form instead of a religious commision, and a large artistic community began to develop around Ubud. Painters in a nearby village, Batuan, also came under the influence of the Pita Maha, but retained more of the Classical Kasaman style. Batuan subject matter turned to everyday life, but still contained many scenes on a single canvas, more subdued coloring than the Ubud style, and dense, crowded canvases. The heightened activity and creative progress in Ubud and Batuan was relatively short-lived due the outbreak of World War II and Japan's invasion of Bali's. Walter Spies was imprisoned and died later in a Japanese bombing of a prisoner boat. Bonnet was interned in Sulawesi, but returned to Bali in the 50's to help found the Ubud Puri Lukisan museum. |
