Fishing Boats 1977 signed with artist's monogram and dated 1977 oil on canvas 99 by 140 cm. 39 by 55 1/8 in.FootnotesProvenance Private Collection, Wisconsin 阿凡迪 漁船 一九七七年作 簽名：藝術家花押 1977 油彩畫布 來源 美國威斯康星州私人收藏 Throughout his illustrious career that spanned over six decades, Affandi's treatment of his chosen subjects never detracted from his emphatic attitude towards the suffering of others. Constantly on a hunt for themes which he felt were connected to his life, he was particularly concerned over the plights of commoners who led simple lives. However, unlike his equally prominent contemporaries such as S. Sudjojono, Hendra Gunawan and Sudjana Kerton who also drew inspirations from social realism or everyday scenes, Affandi did not interpret his stories by painting situations, nor did he paint scenes through imagination. Instead, his subjects, which were often extrapolated from reality, were dynamically expressed onto his canvases and transformed into central characters who told their tales. Not one to force his opinion on his subjects, Affandi's quiet resistance and wildly self-possessed executions conveyed his personal, social and political messages effectively. As highlighted in the 2007 Singapore Art Museum publication, Affandi is widely known as the "Father of Indonesian Modern Painting". The artist's relentless pursuit in improving his extraordinary works makes critics and observers regard him as the greatest of Indonesian painters. Affandi's contribution to the Indonesian art community enhances his country's accomplishment in the artistic field. Although it is not always easy to determine periods in his works, it is apparent that his style had evolved from realistic to expressionist, gaining its full maturity by the 1950s and elevating his stature in art history. Over the years, he enjoyed worldwide recognition and patronage, and created a vast collection of paintings for audiences in Asia, Europe and America. Over the course of Affandi's career, boats remain one of his most extensively painted subjects. Along with the popular Kusamba boats, Madurese and fishing boats on random beaches frequently graced the artist's catalogue raisonnés. Painted from various standpoints, acclaimed art critic Jean Cocteau explains that boats provide viewers with a good example of the way Affandi generates symbolism from the scenes he portrays (Jean Cocteau, Affandi in Indonesia: Works in Bali, edited by Sardjana Sumichan et al, Singapore Art Museum, 2007, p.40). Lot 26 Fishing Boats, executed in 1977, is a fine depiction of fisherman boats moored on the beach. Contrary to his earlier works which invariably portray boats struggling against the forces of nature or thrashing wildly amidst turbulence, Fishing Boats depicts them on a sunny day. The gentle swaying of coconut trees, highly characteristic of the tropics, indicates a breeze cooling the bodies of fishermen out mending their nets. Not far across from the boat stands a seafood stall bustling with activity, with vendors ready to serve hungry villagers. In this painting, Affandi's selected colours of bright blue and yellow with tinges of orange and red joyfully render a picture of vitality and energy. The free and easy manner of the island's dwellers and the scene's raw beauty symbolise blissful existence. In the past Affandi employed stormy beaches and boat scenes as metaphors for the anxieties he felt in life. However, by 1977, having attained significant financial and professional success, the cheery Fishing Boats manifests the artist's state of contentment.