Lot Essay
Born into a high-caste family, Sobrat was from an early age exposed to the cultural activities of Balinese life and especially fond of watching wayang plays. From his grandfather he learned the craft of cutting and decorating wayang puppets.
Walter Spies noticed Sobrat when he was still very young, around 1930, and found him a talented and willing pupil whom he had live in his house as an apprentice for about a year.
There can be little argument that the influence of Spies could be found in the work of Sobrat of that period.
Later in the 1930s he was apprenticed by Bonnet before going out to establish himself on his own.
As he grew older, Sobrat developed his own personal style.
As early as 1935 Bonnet wrote about Sobrat in his famous article "Beeldende Kunst in Gianjar" (Djawa, volume 16, 1936): "Misschien wel de knapste schilder van geheel Bali. Zeker evenaart geen der andere schilders de voornaamheid van zijn coloriet, de veelsijdigheid van zijn kunnen" (Perhaps the most talented painter of all of Bali. Certainly none of the other painters equals the loftiness of his colours, the all-roundness of his ability).
Sobrat was a member of the artist guild "Pita Maha", a marketing organisation which not only sold its members' work for a minimal commission to cover expenses, but also controlled the quality of the paintings.
Incorporated in January 1936, its founding committee consisted of Ida Bagoes Poetoe, Tjokorda Gde Rai, Tjokorda Gede Rake, I Goesti Njoman Lempad, Walter Spies and Rudolf Bonnet.
The committee met weekly to judge the works of its members which, if found satisfactory would be placed on sale through the organisation.
A catalogue of a 'Pita Maha' exhibition held in Jakarta in 1936 refers to Soberat as Anak Agung Gde Sobrat whereas Bonnet, in the mentioned article (1936), refers to him as I Dewa Gede Soberat.
The painting on offer states his name as I Dewa Gde Subrat. Writing an artist's name in different ways in Roman script was and is not uncommon in Bali.
Walter Spies noticed Sobrat when he was still very young, around 1930, and found him a talented and willing pupil whom he had live in his house as an apprentice for about a year.
There can be little argument that the influence of Spies could be found in the work of Sobrat of that period.
Later in the 1930s he was apprenticed by Bonnet before going out to establish himself on his own.
As he grew older, Sobrat developed his own personal style.
As early as 1935 Bonnet wrote about Sobrat in his famous article "Beeldende Kunst in Gianjar" (Djawa, volume 16, 1936): "Misschien wel de knapste schilder van geheel Bali. Zeker evenaart geen der andere schilders de voornaamheid van zijn coloriet, de veelsijdigheid van zijn kunnen" (Perhaps the most talented painter of all of Bali. Certainly none of the other painters equals the loftiness of his colours, the all-roundness of his ability).
Sobrat was a member of the artist guild "Pita Maha", a marketing organisation which not only sold its members' work for a minimal commission to cover expenses, but also controlled the quality of the paintings.
Incorporated in January 1936, its founding committee consisted of Ida Bagoes Poetoe, Tjokorda Gde Rai, Tjokorda Gede Rake, I Goesti Njoman Lempad, Walter Spies and Rudolf Bonnet.
The committee met weekly to judge the works of its members which, if found satisfactory would be placed on sale through the organisation.
A catalogue of a 'Pita Maha' exhibition held in Jakarta in 1936 refers to Soberat as Anak Agung Gde Sobrat whereas Bonnet, in the mentioned article (1936), refers to him as I Dewa Gede Soberat.
The painting on offer states his name as I Dewa Gde Subrat. Writing an artist's name in different ways in Roman script was and is not uncommon in Bali.