BUKU SOEMARMO_2015_FINAL.cdr

“Saya senang menggambar dan melukis sejak
masih jadi bocah ingusan namun saya juga punya
kewajiban membantu bapak saya, agar tidak
menyusahkan beliau,” tutur Soemarmo di studio
lukis sekaligus kediamannya di kota Magelang,
Jawa Tengah.
S O E M A R M O
SEORANG MAESTRO DI TOKYO DARI MAGELANG
Oleh Argus FS
Soemarmo kembali ke Magelang setelah berpuluh tahun menjadi maestro di Tokyo, Jepang. Seniman dan pelukis Indonesia makin
dikenal oleh galeris dan kolektor seni rupa dunia sejak satu dekade terakhir. Lukisan-lukisan Raden Saleh Bustaman pada jaman kolonial
belajar dan berkarya di Eropa. Raden Saleh dianggap sebagai tonggak seni lukis modern Indonesia. Akan tetapi pada abad itu seni lukis
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Soemarmo menjadi pelukis maestro di Tokyo
selama 35 tahun. Banyak jejak artistik dan perjalanan
kreatifnya yang sangat inspiratif, terutama soal bagaimana
beliau memegang teguh prinsip kesenimanannya, disiplin,
etos kerja dan peran pemerintah Soekarno dan pemerintah
Jepang dalam menunjang karirnya sebagai seniman di
Tokyo dari kota Magelang.
Kamasan di Klungkung juga dianggap lukisan modern dari sudut pandang antropologi yang hingga kini dimaktubkan pada lukisan
tradisional. Dengan demikian, seni lukis Indonesia sudah memiliki tonggak sejarah seni lukis modern Indonesia selain Raden Saleh yang
memang secara langsung banyak dipengaruhi oleh seni lukis Eropa. Seniman-seniman pionir dan pelukis old master Indonesia sudah
meninggalkan jejak-jejak artistik melalui karya-karya mereka dan dibaca sebagai bagian sejarah seni rupa Indonesia di era pemerintahan
Soekarno.
Lukisan-lukisan Soedibio, Hendra Gunawan, Affandi, S.
Soedjojono, H. Widayat, Edhi Soenarso (patung), Heng Antung dan
nama-nama seniman lain yang sudah tercatat dalam buku-buku
sejarah seni rupa Indonesia, sebagai karya-karya seniman/pelukis
Indonesian old-master, adalah perkamen sejarah seni rupa Indonesia
yang turut mendorong perkembangan seni rupa Indonesia kini agar
lebih maju dan dikenal masyarakat dunia.
Panggil Saya Marmo! Soemarmo. Pelukis kelahiran Salatiga,
Jawa Tengah, pada 9 Juli 1937, besar di Magelang dan Jakarta adalah
salah satu seniman old-master Indonesia yang hingga kini masih
produktif berkarya dan dikenal di luar Indonesia ketimbang di
negaranya sendiri. Juga, boleh dikatakan sebagai salah satu korban
sejarah politik Orba yang menumbangkan pemerintahan Soekarno.
Lalu, siapakah Soemarmo dan bagaimana beliau dikenal sebagai
salah satu seniman Jepang dari Indonesia?
Pencapaian dan pengalaman estetik beliau dari mulai bocah
ingusan di Magelang hingga menjadi salah satu pelukis yang sangat
diperhitungkan di Tokyo, Jepang, dan dunia internasional adalah
bagian dari sejarah penting seni rupa Indonesia, khususnya seni lukis.
Studio Soemarmo, Magelang (2015)
Marmo, panggilan akrab Soemarmo, adalah putra
kedua dari sepuluh bersaudara. Beliau adalah laki-laki
paling besar di keluarga besar Soekandar. Ayahnya adalah
tentara rakyat yang turut berjuang merebut kemerdekaan
bangsa ini. Namun demikian keluarga besar Soemarmo
adalah keluarga yang sangat memandang penting arti
Studio Soemarmo, Tokyo (1965)
Soemarmo melukis di Wisma Indonesia, Tokyo. 1966
Soemarmo mendapat sertifikat khusus sebagai seniman yang dihormati di Jepang
Sertifikat ini sederajat dengan Master di Tokyo pada tahun 1992
setelah puluhan tahun menjaga kualitas karya seni lukisnya
pendidikan dan pembangunan karakter manusia yang
bermanfaat untuk keluarga, masyarakat serta bangsanya.
Situasi saat itu disikapi dengan kerja keras, terus belajar
menggambar secara otodidak sambil bekerja untuk
menopang ekonominya. Pribadinya yang sederhana,
santai, konsekuen pada prinsip, berfikir positif dan kerja
keras adalah karakter Marmo sejak kecil hingga pada
suatu saat dimana Marmo masih remaja harus merantau
ke Jakarta pada tahun 1954 dan tinggal di jalan Kebun
Sereh, dekat stasiun Jatinegara. Marmo remaja
mengenyam pendidikan menengah di SMA Pepsi
seberang stasiun Gambir, sambil bekerja sebagai loper
koran.
“Saat itu sepertinya asyik dan seru melemparkan
koran-koran ke halaman rumah orang, tapi kan di
film itu, dik. Kenyataannya saya harus
menyerahkan koran-koran itu langsung ke orang
rumah yang jadi pelanggan koran tersebut,” kata
Soemarmo.
Walaupun sekolah sambil bekerja, Marmo
termasuk remaja yang pintar dan rajin menggambar.
Tentunya pelajaran kesenian adalah favoritnya daripada
matematika. Perkara matematika diejawantahkan dengan
hidup bersahaja oleh marmo remaja, hingga
pekerjaannya yang serabutan bisa sedikit menopang
hidupnya di Jakarta sambil belajar. Keseharian Marmo
remaja adalah pelajar yang rajin menggambar. Ia sekolah
di sore hari pada pukul empat sore hingga pukul sembilan
malam, karena di pagi hari ia bekerja mengirim surat
kabar. Bekerja sebagai loper koran waktu itu sangat
dinikmati oleh Marmo karena saat itu beliau sembari
membayangkan adegan film barat seorang loper koran
yang melemparkan gulungan koran ke halaman rumah
pelanggannya setiap pagi.
Pada suatu hari di jam makan siang yang cerah, di
sebuah warung makan dekat stasiun Gambir, Marmo
remaja berjumpa dengan Pak Trisno Juwono, redaktur
majalah Trio bersama S.M. Ardan, Halil Hasmanan
(Reno) - pendiri band Gumaran yg terkenal di Jakarta
waktu itu. Pada saat itu Marmo remaja diajak untuk bekerja
di Majalah Trio oleh Trisno Juwono. Waktu berlalu, Marmo
remaja sekolah sore sambil bekerja sebagai ilustrator dan
pegawai administrasi di majalah seni tersebut. Pekerjaan
Marmo remaja adalah sebagai loper koran pun bertambah,
menjadi ilustrator majalah seni. Pekerjaan menjadi ilustrator
dan staf administrasi di majalah Trio.
***
Hingga pada suatu sore yang cerah di belakang Sekolah
Menengah Negeri 4, dekat kawasan Akademi Militer, kota
Magelang, bulan Mei 2015, Soemarmo menuturkan kembali
pengalaman hidupnya sebelum menjadi pelukis yang sangat
diperhitungkan di Tokyo karena orisinalitas serta otentisitas
karya-karyanya hingga saat ini.
Setelah tamat SMA Marmo pindah ke Jalan Radio
Dalam, Jakarta Selatan dan masih bekerja sebagai ilustrator.
Hingga pada tahun 1958 Marmo pindah ke Yogyakarta
dengan tujuan masuk Akademi Seni Rupa Indonesia (ASRI)
dan Marmo memiliki saudara yang bekerja sebagai guru di
ASRI, Soekarno namanya. Soekarno adalah putra dari
Bu’denya. Tapi niatnya belajar seni lukis di ASRI
diurungkan.
Sore itu, Marmo masih teringat kisah ketika beliau
berniat sekolah menjadi pelukis di ASRI. Pada malam
sebelum Marmo pergi ke ASRI untuk mendaftarkan diri,
Soekarno melihat sketsa yang dibuat Marmo malam itu dan
Soekarno memberikan penilaian bahwa Marmo bisa sekolah
seni lukis di ASRI karena karyanya sudah bagus. Lalu,
dinyatakan lulus tes seandainya beliau mendaftarkan diri ke
ASRI. Lantaran hijrahnya Marmo saat itu dari Jakarta ke
Yogyakarta diketahui oleh bapaknya, Marmo diminta
kembali ke Jakarta dengan alasan ibu kota negara RI itu lebih
menjanjikan masa depan. Marmo saat itu pun pun berfikir
bijak saja dan mempertimbangkan masa depan delapan
adik-adiknya. Maka, Marmo muda kembali ke Jakarta.
Walhasil, setelah kembali ke Jakarta Marmo bekerja
di departemen Pendidikan dan Kebudayaan (PDK) di bagian
subsidi gedung-gedung yang terletak di jalan Cilacap No.4
Jakarta. Menggambar dan melukis tidak pernah ketinggalan
dan karirnya terus menanjak hingga bisa bekerja sebagai staf
bidang kesenian di Istana Negara. Peluang itu diperoleh
karena beliau punya teman yang memiliki akses ke orang
yang bekerja di bidang kesenian di Istana negara. Namanya
Pak Gapoer, kepala staf bidang kesenian.
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Selama beliau bekerja sebagai staf seksi kesenian
yang tugasnya mengurus keperluan acara-acara kesenian di
Istana Negara, hingga mengurus seniman-seniman yang
dipanggil oleh Presiden Soekarno untuk menghibur tamutamu delegasi dari luar Indonesia. Beliau pun jadi mengenal
seniman-seniman dan artis saat itu yang sering dipanggil
oleh Presiden, antara lain Bing Slamet, Titik Puspa,
S.Soedjojono, Trubus, Afandi, Soedarso, Soedibio. Sujono
(guru ASRI) dan Eddi Soenarso, juga seniman-seniman
yang sudah terkenal mulai jaman itu. Momen sejarah
Soemarmo mengenal karya-karya Dulah justru setelah
beliau bekerja di Istana Negara. Dulah adalah guru melukis
Presiden Soekarno. Karena Dulah adalah salah satu seniman
yang sering berjumpa dengan Presiden Soekarno, maka
tidak bisa dihindari kedekatan Dulah dengan beliau pun
terjadi. Marmo belajar ilmu melukis dari Dulah dengan cara
mengamati cara bekerja Dulah dalam mencipta lukisan.
Pengamatan dan interaksi langsung dengan Dulah pun
mempengaruhi lukisan-lukisan Marmo khususnya periode
lukisan naturalist. Tetapi, sebelum Soemarmo bertemu
Dulah beliau sempat belajar seni lukis di sanggar lukis yang
dinakhodai oleh S. Soedjojono di bilangan Pasar Minggu,
Jakarta Timur, tahun 1958 sampai dengan 1961. Semasa
muda Marmo memetik ilmu melukis realis dari Dulah dan S.
Soedjojono.
sesuatu yang mustahil bila seorang pelukis mesti mencari
atau menunggu inspirasi atau gagasan lukisan. Mengapa?
Daya kreatif seorang pelukis atau seniman itu akan terus
hidup hingga akhir hayatnya.
Apa saja yang Somarmo dapatkan dari dua tokoh
old master Indonesia itu? Banyak ilmu soal lukisan dan
hal-hal prinsip mengenai kesenimannya. Perkara teknik
melukis, Soemarmo sudah punya bakat dan skill melukis
yang terus ditekuninya sejak kecil hingga saat dimana
beliau dapat berguru secara langsung kepada Dulah dan
S. Soedjojono di periode itu.
“Saya masih ingat waktu itu Pak Djon
menyuruh saya membuat konte. Karena waktu
saya tidak tahu bagaimana caranya ya saya
terlihat bingung oleh beliau. Terus dia kembali
lagi kepada saya, 'kenapa belum dikerjakan?'
tanya Pak Djon. Saya bilang saja bahwa saya
tidak tahu caranya. Waktu itu saya diberi
instruksi bagaimana membuat charcoal
malahan. Ya, setelah diberi tahu saya buat
charcoal untuk para pelukis di sanggar itu.
Saya belajar melukis dengan cara melihat dan
mengamati proses kerja para pelukis di
sanggar itu. Jadi, menjadi pelukis waktu itu
tidak langsung melukis, tetapi mesti paham
bagaimana membuat bahan untuk melukis,”
tutur Soemarmo.
Menurut beliau lukisan-lukisan naturalis dari dua
guru itu menjadi ilmu yang sangat bermanfaat, khususnya
bagaimana menciptakan lukisan yang khas dan memiliki
karakter pelukisnya. Marmo mendapat banyak pelajaran
yang prinsip untuk seorang pelukis, selain menciptakan
lukisan yang otentik atau orisinal, seorang pelukis yang total
dan konsekuen dengan profesinya itu tidak akan pernah
kekurangan gagasan artistik. Jadi, menurut Marmo adalah
Kunjungan Presiden Soekarno, Wisma Indonesia, Tokyo (1964)
Pada tahun awal tahun 1964, dua lukisan
Soemarmo berjudul “Sayang Anak dan Sayang Ibu” dan
“Wanita Indonesia Berkimono” dikoleksi oleh presiden
RI pertama, maka lukisannya menjadi bagian penting dari
2000 karya seni yang dikoleksi presiden Soekarno
meliputi lukisan, patung dan karya seni laiinya dari
seniman-seniman dunia. Dua lukisan itu masuk daftar
koleksi Soekarno karena Perhimpunan Pelajar Indonesia
merupakan kader partai politik masa itu terlihat glamor di
mata mahasiswa Jepang sendiri. Namun demikian,
Soemarmo tetap hidup bersahaja karena fasilitas yang
diterimanya sebagai pelajar Indonesia dimaksimalkan untuk
mendukung kegiatannya melukis dan melukis.
pelukis. Salah satunya adalah hidup dengan prinsip menjadi
diri sendiri. Yaitu mencipta dalam karya seni lukis dengan
bekerja keras menemukan ciri khas atau otentisitas karya
seorang pelukis pada karyanya. Tentu saja kemauan kuat
Soemarmo untuk menjadi pelukis yang baik mendorong
Soemarmo memperoleh banyak pengetahuan dan
pemahaman mengenai hidup sebagai seorang seniman.
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Kunjungan Presiden Soekarno, Wisma Indonesia, Tokyo. 1964
(PPI) Tokyo, Jepang, meminta dua lukisan tersebut untuk
dihadiahkan kepada presiden Soekarno sebagai karya
pelajar Indonesia di Tokyo, Jepang. Penyerahan dua
lukisan tersebut dilakukan di Wisma Indonesia dari
Soemarmo kepada presiden Soekarno secara langsung.
Marmo memang bekerja sebagai staf bidang
kesenian di istana kepresidenan. Kedekatan beliau
dengan putra-putri Presiden RI yang pertama itu tidak
dapat dihindari sebagai seniman muridnya Dulah. Maka,
kedekatan Soemarmo dengan pelukis Dulah memberikan
banyak pelajaran penting dan bermanfaat bagi
pencapaian artistik dan mentalitas Soemamro sebagai
Kemudian, Soemarmo mendapatkan beasiswa
untuk studi seni lukis di kota Tokyo pada tahun 1963,
sebagai pelajar Indonesia yang kemudian bekerja sebagai
staf lokal Bidang Penerangan di KBRI Tokyo, Jepang. Tentu
saja bukan perkara mudah bagi Soemarmo pada masa itu
karena sebagai mahasiswa seni di Tokyo ia harus berdikari
dan masih memikirkan adik-adiknya. Masa-masa sulit itu
tentu saja berbeda dengan masa sekarang. Presiden
Soekarno di masa itu memberi dukungan yang cukup bagi
seluruh pelajar Indonesia di Tokyo hingga kebutuhan para
pelajar Indonesia dapat dikatakan mencukupi. Bahkan,
Soemarmo menggambarkan fasilitas yang diterima para
pelajar Indonesia di Tokyo yang sebahagian banyak
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Soemarmo terbilang mahasiswa seni dari Indonesia
yang sangat rajin, cerdas dan banyak diberi masukan oleh
dosen-dosen seni lukis di Tokyo hingga seniman-seniman
penting di Tokyo pada masa itu menambah nilai-nilai
prinsipil yang dipegang teguh Soemarmo. Maka, setelah
Soemarmo berguru kepada Dulah dan S. Soedjojono
mendapat guru lukis Jepang, yaitu Hasegawa Michiharu,
selama tiga tahun juga mendapat banyak pelajaran dari
pelukis-pelukis, kritikus, kurator di Tokyo karena
Soemarmo sudah menjadi pelukis Jepang. Kegigihan
Soemarmo sebagai pelukis di Tokyo dari Magelang seperti
tidak pernah surut dan selalu mencoba- dan mencoba
membuat lukisan yang akan menjadi otentisitas dan
orisinalitas dia di atas kanvas-kanvasnya.
Setelah menyelesaikan studi seni lukis di
GAKUGEI DAINGAKU (University of Art and Science),
Tokyo, Soemarmo berada pada titik nol sebelum mengambil
langkah pertama sebagai pelukis di Tokyo. Selama satu
tahun setelah usai studi yang dilakukan Soemarmo adalah
melukis dan melukis hingga terkumpul beberapa lukisan
untuk sebuah pameran tunggal pertama di NICHIDO
Undangan pameran tunggal
Soemarmo yang kedua
di MIMI Gallery, Tokyo,
1970
Gallery - sebuah galeri seni rupa yang paling bergengsi di
kota Tokyo. Habislah uangnya dibelikan cat, kanvas,
kuas dan peralatan lukis lainnya untuk menabung lukisan
dalam rangka pameran tunggal pertama. Tak habis akal,
Soemarmo meminjam sejumlah dana untuk membayar
sewa galeri terbaik itu dan mengembalikan dana itu
segera setelah malam pembukaan pameran tunggalnya.
Benar, tiga lukisan Soemarmo laris terjual di malam
pembukaan pameran perdananya.
Perjuangan Soemarmo di gelanggang seni rupa
Jepang di Tokyo menjalankan misi dan kebudayaan
Indonesia di negeri Sakura itu. Lukisan-lukisan
Soemarmo adalah lukisan mengenai kebudayaan
Indonesia dengan visi bahwa kebudayaan Indonesia
tidak akan pernah habis menjadi gagasan artistik bagi
seorang seniman. Kekuatan karya lukisan Soemarmo
juga berhasil menarik perhatian ICHIYO-KAI, salah
satu dari lima organisasi seniman di Tokyo yang banyak
memberikan kontribusi kepada museum-museum di
Tokyo, Jepang. Soemarmo selalu menyertakan seni
hiburan dari Bali dan budaya Indonesia pada umumnya
di dalam goresan-goresan kuas dan lapisan-lapisan cat
minyak di atas kanvas-kanvas lukisannya. Dan mulai
tahun 1968 hingga kini Soemarmo aktif memamerkan
lukisan-lukisannya di Mori Metropolitan Museum of
Art, Ueno, Tokyo.
Penghargaan karya seni banyak diraih oleh
Soemarmo di Tokyo, antara lain: The Special Prize dari
pameran seni rupa di Metropolitan Art Museum Ueno,
Tokyo, tahun 1969 dan 10 Karya Terbaik dari pameran
Japan Fine Art pada tahun 1977 - diselenggarakan oleh
Ichiyo-kai. Special Prize Winner dari pameran seni rupa
yang diselenggarakan oleh UNESCO Japan “Kyoto”
tahun 1980. Setahun kemudian karya patung dengan
material es yang diberi judul “Dewa Ruci” memenangkan
posisi the First Winner dalam perhelatan The
International Snow Festival di Sapporo, Jepang, dan
sebagai bonusnya Soemarmo banyak melakukan lawatan
ke museum-museum dan galeri seni rupa di Eropah.
Dalam lawatannya di Paris, Soemarmo sempat
berjumpa dengan Salim. Seniman dari Indonesia yang
belajar seni rupa di Paris dan menetap di kota para
seniman dunia itu menjadi tersohor. Soemarmo
memaparkan bahwa pada era itu bukan hanya dirinya
yang belajar seni rupa di luar Indonesia, tapi ada beberapa
nama seniman yang berpetualang di negeri orang lain.
Pak Salim, seniman Indonesia yang menetap di kota
Paris, membantu Soemarmo juga hingga bisa mengikuti
pameran-pameran lukisan di Itali, Perancis, Spanyol dan
negeri Belanda.
Corak lukisan-lukisan Soemarmo yang muncul
belakangan ini bukan lukisan yang digarap dengan teknik
melukis yang secara kebetulan 'ketemu' hingga dapat
menunjukkan rasa dan kekuatan diri pelukisnya di atas
kanvas menggunakan cat akrilik atau cat minyak yang
cukup tebal. Lukisan-lukisan Soemarmo merupakan
proses kreatif yang tidak akan pernah selesai hingga akhir
hayatnya. Soemarmo merupakan salah satu seniman
yang ditempa oleh tiga jaman, yaitu jaman Orde lama,
Orde Baru dan Orde Reformasi.
Lukisan naturalist Soemarmo menggunakan cat
minyak pada awalnya banyak dipengaruhi oleh seni lukis
modern Eropah. Tetapi, lukisan naturalist Soemarmo
selepas menjadi seniman Tokyo Soemarmo justru
menunjukkan ciri naturalist Soemarmo. Dari lukisannya
lukisan bunga banyak digarap dengan ciri khas ekspresionis
dan impresionis Soemarmo, dan lukisan-lukisan figur serta
lanskap dengan goresan-goresan ekspresionisnya. Seorang
jurnalis surat kabar Asahi Shimbun di Tokyo, Mr. Suzuki
Sho, adalah kolektor lukisan Soemarmo yang mulai
dikoleksi sejak Soemarmo masih studi hingga menjadi
seniman yang dihormati di Tokyo, Jepang, sebanyak lebih
dari 140 lukisan Soemarmo.
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Soemarmo adalah aset sejarah seni rupa Indonesia
yang saat ini memang belum banyak dikenal di negerinya
sendiri, Indonesia, meski sudah dapat digolongkan sebagai
maestro atau Indonesia old master dari Magelang.
Kehadirannya sebagai seniman dari Indonesia di negeri
sakura bukanlah perkara mudah di mana pada saat itu
Kunjungan Soemarmo ke museums di kota Paris. 1970
itu masih bisa 'terbaca' sedikit naturalis-nya Dulah dan S.
Soedjojono. Lukisan-lukisan Soemarmo adalah lukisan
gaya dan corak Soemarmo sendiri. Prinsip inilah yang ingin
ditunjukkan melalui lukisan-lukisannya bahwa menjadi
pelukis sejatinya menunjukkan karya dengan corak dan
warna yang khas dari pelukisnya, meskipun melukiskan
persoalan yang serupa. Soemarmo berupaya menjadi dirinya
sendiri di dalam karya-karyanya. Meniru merupakan
perkara yang bukan urusan seniman bagi Soemarmo.
“Seniman itu tidak akan pernah habis ide-idenya.
Dan meniru karya-karya pelukis lain itu bukan
tabiatnya seniman. Ia harus menciptakan
lukisannya sendiri. Mengolah rasa di dalam
lukisannya dengan kejujuran diri senimannya. Itu
saja. Maka penikmat lukisan atau kolektor dapat
mengenali karya kita. Bagaimana caranya? Ya,
teruslah melukis dan pameran di galeri dan
museum,” kata Soemarmo.
Lukisan-lukisan Soemarmo dapat dibagi ke dalam
beberapa katagori lukisan, antara lain lukisan-lukisan
naturalist dan realist dengan objek buah-buahan, lukisan-
Tim Indonesia Juara I
Perebutan bendera
International Snow Festival, Sapporo, Jepang
1982
kondisi pendidikan, ekonomi, sosial, politik dan
kebudayaan tidak sebaik sekarang. Namun, seniman ini
justru prihatin dengan situasi sosial dan kebudayaan
Indonesia saat ini, khususnya pelaku-pelaku seni rupa di
Indonesia. Prihatin karena aspek pendidikan tidak
menjadi manusia-manusia Indonesia menjadi lebih baik
dari generasinya dulu. Banyak yang memiliki
kemampuan melukis tapi minim kapasitasnya untuk
mencipta.
Soemarmo memang terdidik secara mental
sebagai seniman profesional di Tokyo hingga
kembalinya beliau ke Indonesia untuk dapat
memberikan pelajaran-pelajaran berharga kepada
pelukis dan seniman Indonesia, khususnya generasi
muda, yaitu mentalitas yang tidak diajarkan kepada
seniman-seniman muda untuk memajukan seni rupa
Indonesia yang lebih baik. Soemarmo kini hidup dan
berkarya di Magelang dan selalu sedia untuk membagi
ilmunya kepada semua seniman dan pelukis, meski
sesekali harus berangkat ke Tokyo sebagai seniman
Jepang yang dihormati di negeri Sakura itu.***
“Gadis Bali”
Pastel on Paper
1994
9
10
“Barong”
Oil on Canvas
1974
“Legong”
Oil on Canvas
2010
“Kapal”
Oil on Canvas
1981
“Apel”
Oil on Canvas
1968
11
12
“Apel”
Acrylic on Canvas
2010
“Apel”
Pastel on Paper
2000
“Apel”
Oil on Canvas
1970
“Mawar”
Acrylic on Canvas
2010
13
14
“Pier”
Pastel on Paper
2000
“Pier”
Pastel on Paper
2000
“Bunga”
Oil on Canvas
1990
“Bunga”
Acrylic on Canvas
2010
15
16
“Bunga Matahari”
Oil on Canvas
1970-75
“Persimmon”
Oil on Canvas
1970-75
First painting during studied at S. Soedjojono workshop. “Nelayan”, oil on Canvas. 1955
“Semangka”
Oil on Canvas
1968
17
18
“Gadis”
Oil on Canvas
1968
Invitation
First solo exhibition
at Salon Nichido Gallery
1968
“Penari Bali”
Oil on Canvas
1970
principle, positive thinking and hard working, are Marmo's
characters since he was a child until the time when the
teenage Marmo had to migrate to Jakarta in 1954 and lived in
Kebon Sereh, near Jatinegara station.Teenage Marmo took
his secondary education in SMA Pepsi - across the street
from Gambir Station, while working as a newspaper boy.
BEING a MASTER in TOKYO
From MAGELANG
By Argus FS
SOEMARMO return to Magelang, central Java after
being old master artist in Tokyo, Japan. Indonesian artists
and painters are increasingly recognized by international
art gallery owners and collectors in the last decade.
Paintings of Raden Saleh Bustaman in the colonial era
when he studied and worked in Europe. Raden Saleh is
regarded as a milestone in modern Indonesian painting.
But in that century, Kamasan painting art in Klungkung
are also considered modern paintings from
anthropological standpoint, despite being included
among the traditional painting art until now. Thus,
Indonesian painting art already has a milestone of modern
painting apart from Raden Saleh who was directly
influenced by European painting. Indonesian pioneering
painting artists and old masters had bequeathed artistic
traces through their works and are regarded as part of
Indonesian art history in the era of Soekarno.
The works of Soedibio, Hendra Gunawan,
Affandi, S. Soedjojono, H. Widayat, Edhi Soenarso,
Henk Ngantung and the names of other artists recorded in
the history books of Indonesian art, as the works of
Indonesian-old master artists / painters, is the parchment
of Indonesian art history contributing to the development
of Indonesian art to be more advanced and is now known
internationally.
Call Me Marmo. Soemarmo, that's all his name, is
a painter born in Salatiga, Central Java, on July 9, 1937.
He was raised in Magelang and Jakarta, and is one of the
Indonesian old masters who are still productive and more
known outside Indonesia than in their own country. Also,
he may be regarded as one of the victims of the New Order
political history after Soekarno was deposed. Who is
Soemarmo then, and how did he get to be known as one of
the Japanese artists from Indonesia?
His achievements and his aesthetic experience
spanning from his childhood in Magelang until he becomes
one of the highly regarded painters in Tokyo, Japan, and also
internationally, is an important part of the history of
Indonesian art, particularly in painting.
"I have loved drawing and painting since I was
a snot-nosed kid, but I also have an obligation
to help my father, so as not to trouble him,"
said Soemarmo in his studio painting cum
residence in Magelang, Central Java.
Soemarmo is a painter maestro in Tokyo for 35 years.
There are many traces of his artistic and creative journey that
are very inspiring, especially about how he held fast to his
artistic principles, discipline, work ethic and the role of
Soekarno and the Japanese government in supporting his
career as a Magelang artist in Tokyo.
Marmo, his familiar name, was the second son of ten
siblings. He is the oldest son in Soekandar family. His father
was an army officer who helped fight for the nation's
independence. However, his big family had a very critical
look on the meaning of education and development of
human character that is beneficial for the family, the
community and the country.
The current situation at the time was addressed with
hard work, continuing to learn to drawing and painting by
himself while he worked to shore up the family's economy.
His personality that is humble, relaxed, commit on the
19
20
"It seemed fun and exciting throwing those
newspapers to people's front yards, but this is
the moving images in the movies. In reality I
hand to hand in the newspaper in person to
the customers in their homes," said Soemarmo.
Although he was working while schooling, teenage
Marmo was smart and diligent in drawings. Of course art
was his favorite subject compared to mathematics.
Mathematical matters were embodied within a simple life of
the teenage Marmo, until his odd jobs could help support his
life a little in Jakarta while he was still studying. In his daily
life the teen Marmo was a student with an avid passion in
drawing. He went to school at four o'clock in the afternoon
until nine o'clock at night, because in the morning he worked
delivering newspapers. Working as a newspaper boy was
enjoyed by Marmo very much because while doing it, he
imagined he was in those western movie scenes where the
newspaper boy threw newspaper rolls to the costumers' patio
every morning.
***
One day in a sunny lunch hour, at a warung near
Gambir Station, teenage Marmo met Mr. Trisno Juwono, an
editor of the Trio magazine along with S.M. Ardan, Halil
Hasmanan (Reno) - founder of the band Gumarang that was
famous in Jakarta that time. At that time the teenage Marmo
was invited to work in Trio magazine by Trisno Juwono. As
time passed, teenage Marmo will go to school in the
afternoon while working as an illustrator and administrative
staff in the art magazine. The teenage Marmo's job
delivering newspapers developed, he became an illustrator
for music and entertainment magazine. He worked as an
illustrator and administrative staff in Trio magazines.
Soemarmo Studio’s, Tokyo, Japan. 1965
One sunny afternoon on the back of a State
Secondary School 4, near the area of a Military Academy
in Magelang, in May 2015, Marmo recounted his
experience before becoming a highly regarded painter in
Tokyo because of the originality and authenticity of his
work to date.
After graduating high school Marmo moved to
Jalan Radio Dalam, South Jakarta while he still working
as an illustrator. In 1958 Marmo traveled to Yogyakarta
with the aim of enrolling to Indonesian Fine Arts
Academy (ASRI) and Marmo had a relative who worked
as a teacher in ASRI, Soekarno his name was. Soekarno
was the son of his sister’s mother. But his intention to
study painting at ASRI was canceled.
One upon a time, in afternoon, Marmo recalled
the story of when he intended to learn painting in ASRI.
On the evening before Marmo enrolled to ASRI,
Soekarno saw sketches Marmo made that night and
Soekarno assessed that Marmo could study painting in
ASRI because his work was already good. Then, he could
passed the test if he enrolled to ASRI. Because at the time
Marmo moving from Jakarta to Yogyakarta was known
by his father, Marmo was asked to return to Jakarta the
reason was that the state capital of Indonesia had more
after he worked at the State Palace. Dulah was President
Soekarno's painting teacher. Because Dulah was one of the
artists who frequently met the President, close acquaintance
with Dulah was inevitable. Marmo studied painting from
Dulah by observing Dulah working on a painting.
Observation and direct interaction with Dulah also affect
Marmo's paintings particularly during his period of
naturalist painting. But, before Marmo ever met Dulah he
had studied painting in a studio under S. Soedjojono in Pasar
Minggu, East Jakarta, 1958 to 1961.
“Relief Borobudur”
Oil on Canvas, 1968
promising future. Marmo at the time made a sensible
consideration for the future of his eight younger siblings.
Thus, young Marmo returned to Jakarta.
Hence, upon his return to Jakarta, Marmo worked
in the Departments of Education and Culture (PDK) in
buildings subsidy division, that was located in Jalan
Cilacap 4, Jakarta. Drawing and painting activities were
abandoned as his career continued to climb until he could
work as a staff for the arts at the State Palace. This
opportunity was obtained because he had a friend who
had access to people working in the arts division at the
State Palace. His name is Mr. Gapoer, chief of staff of the
arts. During his occupation as an art section staff whose
job is to organize art events at the State Palace, taking care
of artists who are invited by the President Soekarno, up to
entertaining guests delegation from abroad. He became
familiar with artists who at that time were often invited by
the President, they were among others, Bing Slamet, Titik
Puspa, S. Soedjojono, Trubus, Afandi, Soedarso,
Soedibio, Sujono (an ASRI teacher) and Eddi Soenarso,
apart from other artists who were well known ever since
that era.
The most historical moment for him was when he
getting closer to the works of Dulah, actually, happened
Young Marmo picked up the art of realist painting
from Dulah and S. Soedjojono. According to him the
knowledge of naturalist paintings from the two masters is
very useful, especially on how to create a distinctive
painting and has the characters of the artist. Marmo received
a lot of principle lessons that, besides creating authentic or
original paintings, a painter with totality and consistency to
the profession will never be short of artistic ideas. Thus,
according to Marmo it is Impossible that a painter should
find or wait for inspiration or ideas to paint. Why? The
creative power of a painter or artist will continue to thrive
until his demise.
What did Marmo get out of these Indonesia's old
masters? A lot of knowledge about painting, matters of
principle that concerning his own artistic language.
Regarding painting techniques, Marmo already got the
talent and skill to paint that he continuously practiced since
childhood to the time when he could study directly under
Dulah and S. Soedjojono in that period.
"I still remember the time that Mr. Djon told
me to make conté. Because at the time I did not
know how, he saw me as being confused. Then
he returned to me, 'why have you not done it
yet?' Asked Mr. Djon. I just told him that I did
not know how. At that time I was given
instructions on how to make charcoal instead.
So, after being told I made charcoal for the
painters in the studio. I learned to paint by
seeing and observing the artists' workin
process in the studio. So, to become a painter was not
produce painting directly, at the time, one must be
understood and could do how to make the painting
material first," Soemarmo explained.
21
22
In early 1964, two of Marmo's paintings titled "Love
the Child and Love the Mother" and the "Indonesian Woman
in Kimono" was collected by Indonesia's first president, the
paintings became an important part of the 2000 works of art
in the collection of President Soekarno which includes
paintings, sculpture and other works of arts from
internationally renowned artists. The two paintings included
in President Soekarno's collection because the Indonesian
Students Association (PPI) Tokyo, Japan, requested for the
two paintings to be presented to the President Soekarno as
the work of Indonesian student in Tokyo, Japan. The two
paintings were handed over in Wisma Indonesia in person
from Marmo to the President Soekarno.
Marmo did worked as a staff of the arts division at the
Presidential Palace. His close acquaintance with the sons
and daughters of the first President was unavoidable as a
painter who learn from Dulah. Marmo's close acquaintance
with the painter Dulah provided many important and useful
lessons for his artistic achievements and mentality as a great
painter. Among these was living with the principle of being
one's self, namely by working hard to discover a character
or authenticity as a painter in creating identical painting.
Certainly, his strong willingness to become a good painter
motivated by his gain a lot of knowledge and
understanding of life as an artist.
Later on, Marmo received a scholarship to study
painting in Tokyo city in 1963, as an Indonesian student
who later worked as a local Information staff in the
Indonesian Embassy in Tokyo, Japan. This was not an
easy for Marmo at the time because he had to be
independent as a student in Tokyo and at the same time
must also be responsible for his younger siblings. Those
hard times are certainly different from the situation today.
Marmo at the time provided support for Indonesian
students residing in Tokyo and made sure their needs are
met. Marmo described that the facilities for Indonesian
students in Tokyo, who were mostly political cadres,
actually seemed glamorous if compared to Japanese
students themselves. However, Marmo maintained his
humble way of life because the facilities he received as an
Indonesian student were maximized to allow him to keep
painting and painting.
HB IX show the painting
by Soemarmo “Barong”
Collection of Indonesian Ambassy
Tokyo, Japan.
23
Marmo's struggles in the Japan Arts Arena
in Tokyo held an Indonesian mission and culture in
Japan. Marmo's paintings are about Indonesian
culture with a vision that Indonesian culture will
never cease to provide artistic ideas for the artist.
The power in Marmo's painting attracted the
attention of ICHIYO-KAI, one of the five artist's
organization in Tokyo that contributed greatly to
museums in Tokyo, Japan. Marmo always included
the art of entertainment from Bali and Indonesia in
general in his brush strokes and oil paint layers of
his painting canvases. Since 1968 until today,
Marmo has been actively exhibiting his paintings
in Mori Metropolitan Museum of Art - Ueno,
Tokyo, Japan.
“Legong Bali”
Collection of Indonesian Embassy
Tokyo, Japan
Marmo was regarded as an Indonesian art student
who is very intelligent and received a lot of inputs from
the painting teachers and important artists of Tokyo at the
time, and this added to the principle values that Marmo
held fast. After learning from Dulah and S. Soedjojono,
Marmo studied under a Japanese painter, Hasegawa
Michiharu for three year, and also learning from other
painters, critics and curators in Tokyo. Because he has
24
year holding a degree in painting was not
something to take lightly of, Marmo painted and
painted until he had several works for his first solo
exhibition in the most prestigious art gallery in
Tokyo. He spent all his money to buy paints,
canvases, brushes and other painting material to
prepare a collection of paintings for his first solo
exhibition. Speculatively, Marmo loaned some
funds to rent the best gallery and vowed to return
the fund immediately after the opening night of his
solo exhibition. He was right at that time. Three
paintings were sold during the opening night of that
exhibition.
been being a Japanese artist. Marmo's persistence as a
Magelang painter in Tokyo never subsided and he kept
experimenting in trying to create paintings with his
authenticity and originality on canvases.
After graduating with a degree in painting from the
University of Arts and Science, Tokyo, Marmo was at his
zero-point before his first step as a painter in Tokyo. One
Many art awards were received by Marmo
in Tokyo, among others: the Special Prize in the art
exhibition at Metropolitan Art Museum Ueno,
Tokyo (1969); 10th Best Works during Japan Fine
Art exhibition in 1977 -- organized by ICHIYOKAI. Special Prize Winner in art exhibition
organized by UNESCO Japan, Kyoto (1980); A
year later an ice sculpture titled "Dewa Ruci" won
First Winner during the International Snow
Festival in Sapporo, Japan and as a bonus
Soemarmo traveled to museums and galleries in
Europe.
In his trip to Paris, Marmo met Salim, an
Indonesian artist who studied art in Paris who later settled
and became famous in that city. Marmo explained that in
the era he was not the only one who went abroad to study
art, there were several other artists who traveled abroad.
Then, he was supported by Mr. Salim for paintings
exhibition in Italy, Spain, France, Netherland.
More recent Marmo's painting style is not
something he accidentally "stumbled upon", so that he
could demonstrated the painter's senses of art and the
power of aesthetic on canvas using thick layers of acrylic
or oil paints. Marmo's paintings are part of a creative
process that will never stop until his demise. Marmo is
one of the artists who forged in three eras, the era of the
Old Order, New Order and the Reformation.
Marmo's naturalist painting with oil paint in the
beginning was heavily influenced by European modern
paintings. However, Marmo's naturalist painting after he
graduated with a degree in painting and residing as an
artist in Tokyo indicated instead his naturalist
characteristics. One might say that on his paintings could
be seen how a little bit trace of Dulah and S. Soedjojono's
naturalist style. However, Marmo's paintings are his own
style and patterns. It is this principle that he wished to
show through his paintings, that becoming a painter is to
truly show a work with his or her own distinctive
characteristic of style or pattern although the painting
might describe a common issue. Marmo seeks to be
himself in his work. Imitation is not a concern of artists
for Marmo.
"An artist will never run out of ideas and
imitation works from other painters is not an
artist's character. He must create his own
painting. Processing his own senses on his own
painting and devoted within the self-honesty.
That is all. So painting lovers or collectors
can recognize our works. How is it done? Well,
by keep on painting and exhibiting,"
Soemarmo said.
paint but lacking the capacity to create. Indeed, the mentality
of Soemarmo as a professional artist has been educated in
Tokyo. His returning to Indonesia were prepared to share his
lessons for Indonesian painters and artists, especially for
those young artists. The lessons of mental for those artist
which is not educating yet to develop a better Indonesian art
scene. Now he live and works in Magelang and he has been
give a promise to share his knowledge and experiences for
all painters and artist, even sometime he must gone to Tokyo
as Japanese artist who has achieved by an honour in
Japanese art scene. ***
Soemarmo was born at Salatiga, Central Java, on 9th July 1937.
He came from family artists. He went to The University of Art and
Science Tokyo in 1964 to studied painting then he began to paint
under the personal tutorship by Mr. Hasegawa Michiharu, a
painter of nation fame in Japan, for three years. His first one man
show at NICHIDO Gallery Ginza, Tokyo, was on September 1968,
then ICHIYO KAI selecting two of his work, “THE BALINESE
DANCER” and “THE FISHERMAN”. Since 2000 he work and live in
Magelang, Central Java, Indonesia.
25
26
The last meeting Soemarmo and Jack Lesmana
with President Soekarno in the Presidential Palace,
Jakarta. 1962
Marmo's paintings can be sorted into several
categories, namely naturalist and realistic paintings with
fruits as objects, flower paintings are mostly worked on
in Marmo's distinct expressionist and impressionist
style, while the figures and landscape paintings are made
in impressionist strokes. A journalist who work for Asahi
Shimbun new paper also an art collector for Soemarmo's
painting in Tokyo, he is Mr. Suzuki Sho, collecting more
than 140 paintings since Soemarmo being an art student
in Tokyo.
Marmo is an asset to the Indonesian art history
despite up until today he is yet widely known in his own
country, Indonesia, even thought, he can already be
categorized as a maestro or an Indonesian old master from
Magelang. His presence as an Indonesian artist in Japan
was not a simple feat as in the old days the education,
economy, social, political, and cultural condition were
not as good as they are today. However, the artist is in fact
concerned with the current social and cultural condition
in Indonesia, especially on the artists and visual art in
Indonesia. These situations concerned because the
educational aspect does not make Indonesian artists
better than their predecessors. Many have the ability to
Sejak kecil
saya ingin jadi pelukis
dan harus terus melukis
Curriculum Vitae
Soemarmo produce his painting at Paris and visiting
Louvre museum in Paris as japanese artist. 1970.
th
1969 “The 5 International Young Artist Exhibition” held at Seibu Department Store selected one of
his work i.e “THE LEGONG DANCE” and he got the special prize together with other
Japanese prize winners in the exhibition at METROPOLITAN ART MUSEUM UENO, Tokyo.
1969 One man shows at SOPPORO, HOKKAIDO.
1970 Ichiyo-Kai selected his work “FUNE”
Exhibition in Thailand
1971 Soemarmo's One Man Show in Hammatsu.
1972 Ichiyo-Kai selecting his work, “JANGGER” and got the prize and became an associated
member of Ichiyo-Kai.
1973 Soemarmo's One Man Show at Mimi Gallery Ginza Tokyo and Yokohama
1974 Made a study trip in France, Spain, Italy and Holland to obtain picture image data
1975 Won Senkei Newspaper Price in Asian Fine Art Association Exhibition.
1976 Asian Fine Art Association at Mori Metropolitan Museum of Art Ueno Tokyo selected two of
his work “ROSE” and “KYOTO TEMPLE” and Ichiyo-Kai selecting one of his work “BARONG”.
1977 The exhibition of Ichiyo-Kai selected one of his work “KECAK” and he became one of the best
ten in JAPAN FINE ART.
1977 The Exhibition in Bangkok
1978
1979
1980
1981
1982
1983
1983
1984
1985
1987
1987
1988
1988
1988
1989
1989
1989
1990
1990
1991
1991
1992
1993
1994
1994
1995
1996
1996
1996
1998
2002
2004
2014
2015
Ichiyo Kai selected one of his work “FISHERMAN”.
Ichiyo-Kai selected one of his work “RANGDA”.
Won a special prize in group show by UNESCO JAPAN “KYOTO”
Indonesia Group Prize Number One Sculpture in the International Show Festival Concurs held
in Sapporo, “DEWA RUCI”.
Ichiyo-Kai selected one of his work “FUNE”.
The exhibition in France
Asian Fine Art Association Exhibition selected one of his work “BARONG”.
Ichiyo-Kai selected one of his work “THE SUN”
Asian Fine Art Association Exhibition selected one of his work “FUNE”.
Asian Fine Art Association Exhibition selected two of his work “BALI TEMPLE” and “KYOTO
TEMPLE”.
The exhibition in South Korea
Exhibition at TAKAGENGALLERY together with the member of Ichiyo-Kai
Ichiyo-Kai selected one of his work “BARONG DANCE”
The Exhibition in Italy.
Exhibition at TAKAGEN GALLERY together with the member of Ichiyo-Kai.
Exhibition at YURAKUCHO SEIBU DEPT. SSTORE AB Building, Tokyo Transmission
Recent work by the Tokyo International Art Community.
Exhibition : One Man Show at SEIBU DEPT. STORE, Shibuya
Ichiyo-Kai selected one of his work “BALI DANCE”
Ichiyo-Kai selected one of his work “BARONG DANCE” to exhibit at UENO MUSEUM TOKYO
Exhibition at TAKAGEN GALLERY Ginza Tokyo
Ichiyo-Kai selected one of his work and got the special price to be member of Ichiyo-Kai in
Japan.
Ichiyo-Kai made the exhibition at TAKAGEN GALLERY, Ginza Tokyo.
Ichiyo-Kai selected one of his work “LEGONG DANCE”.
Exhibition at TAKAGEN GALLERY together with the member of Ichiyo-Kai.
Exhibition at MUSEUM METROPOLITAN of ART TOKYO together with the member of Ichiyo-Kai.
Exhibition at ROYAL GINZA MUSEUM together with the member of Ichiyo-Kai.
Exhibition at MUSEUM METROPOLITAN of ART TOKYO together with the member of Ichiyo-Kai.
Exhibition at ROYAL GINZA MUSEUM together with the member of Ichiyo-Kai.
Exhibition at MUSEUM METROPOLITAN of ART TOKYO together with the member of Ichiyo-Kai.
Exhibition in Swiss
Exhibition in Swiss
Exhibition in Pondok Tingal BOROBUDUR INDONESIA.
Exhibition at Tuksongo Visual Art House, Borobudur, Central Java.
27
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Publisher
ARTLINKED INDONESIA
Jl. Ronggo Alap-Alap RT 04 RW 06,
Nyamplung Kidul, Gamping - Sleman
YOGYAKARTA
Tel: +62 2748219848
Mail: [email protected]
This book is published in conjunction with the exhibition
MILESTONE by Antonios Kho, Cipto Purnomo, Damtoz Andreas,
Deddy PAW, Didi Kasi, Hatmojo, Koni Herawati, Noor Ibrahim,
Soemarmo, Syahrizal Zain Koto, Yudhi Legowo.
at TUKSONGO Visual Art House, Magelang, Indonesia
from 9 - 27 June 2015
Copyright book © 2015 Publisher
Copyright text © 2015 Writer
Copyright works © 2015 Artist
Writer : Argus FS (independent Idea Based Curator, Artis)
English Editor : Mirna Adzaini and Argus FS.
Reproduction/Photograph : Bambang.
Design : A L I
No part of this book may be replaced or transmitted in any form
or by any means, electronic or mechanical, including image, recording
or any information storage and retrieval system, without the prior concent
from the writer, publisher and artist.