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Lot Essay
Settling in Ubud, Bali in 1940, Dutch-born Willem Gerard Hofker found himself amongst a flourishing artistic community with the likes of Walter Spies, Roland Strasser, Adrien Jean-Le Mayeur de Merpr/ges.
In the elegant drawing of Ni Goesti Madé Toewi at the Temple Gate (Lot 346), Hofker demonstrates a rare sensitivity in depicting the girl Ni Made Toewi. His model, whom he used frequently in his work, is awash in soft colours, with the gentle light emanating from the other side of the temple gate illuminating the bright fabric of her indigenous dress. Her posture is characteristic of Hofker's work, where he often portrayed his subjects with eyes downcast in a reflective gaze.
Portrait of Ni Mawar Gebeng (1938) (Lot 347) is a striking painting for the way in which Hofker has chosen to capture his young sitter, with a distinct jewel neckpiece on her. The young girl stares out of the painting towards the viewer, and her calm, measured gaze belies her tender age. Depicted in bright blues and yellows, the painting displays the artist's mastery in the use of colour to bring his subject to life. The solid background of the portrait shares an affinity with more traditional forms of European portraiture, and indeed, as a rare work from Hofker's early years in Bali, this is a work that is representative of an artist coming to grasps with his new surroundings, and using his art to express his fascination and respect for the peoples of Bali.
In the elegant drawing of Ni Goesti Madé Toewi at the Temple Gate (Lot 346), Hofker demonstrates a rare sensitivity in depicting the girl Ni Made Toewi. His model, whom he used frequently in his work, is awash in soft colours, with the gentle light emanating from the other side of the temple gate illuminating the bright fabric of her indigenous dress. Her posture is characteristic of Hofker's work, where he often portrayed his subjects with eyes downcast in a reflective gaze.
Portrait of Ni Mawar Gebeng (1938) (Lot 347) is a striking painting for the way in which Hofker has chosen to capture his young sitter, with a distinct jewel neckpiece on her. The young girl stares out of the painting towards the viewer, and her calm, measured gaze belies her tender age. Depicted in bright blues and yellows, the painting displays the artist's mastery in the use of colour to bring his subject to life. The solid background of the portrait shares an affinity with more traditional forms of European portraiture, and indeed, as a rare work from Hofker's early years in Bali, this is a work that is representative of an artist coming to grasps with his new surroundings, and using his art to express his fascination and respect for the peoples of Bali.