"Most of Affandi's paintings could not be called genre paintings, however; their style and feeling are too existential for that. Nevertheless, they spring out of an attitude which signifies profound respect and admiration for the hard physical labour and the life experience of those who maintain society in the most fundamental of ways." (Astri Wright, Soul, Spirit, and Mountain: Preoccupations of Contemporary Indonesian Painters, Oxford University Press, Kuala Lumpur, 1994, p. 158).
As early as 1950s, Affandi had given up using a brush and applied paint directly onto the canvas out of the tube. With this free and spontaneous style the artist explored his own emotions and those of his subjects. By 1960s, this style is fully developed with maturity. The strength of Affandi's fluid style lies in his ability to maintain a coherent structure of his subjects amidst the disarray of lines and colours.
The present lot is intently done to blur the lines of perspectives, as the bull cart strolling along against the background of a lush vegetation and the fluffy white clouds, and with a corner of the work revealing the blue sky nearly touching the earth, the painting manages to exude a sense of rhythmic movement in accordance with the moving subject.
"During the interview, Affandi exuded a peaceful detachment from the ticking of the clock and the business of life. 'I am the luckiest man in the world,' Affandi suddenly said in his wavering voice. 'Because when I paint, I am completely happy. When I paint, the only things that exist are God, the subject, and myself.' " (Ibid, p. 111).
Such is the conviction that the artist applies to all his works and a principle that renders his oeuvres with simplicity that is pure and joyful.