Auke Sonnega – Bali’s First Spiritual Artist

If you happened to be one of the few tourists wandering on Jalan Kaleran, Ubud (in those days there were no street names) in 1956, you might have certainly noticed the prominent sign announcing the residence as well as studio of Dutch artist – Auke Sonnega; Painter of the Indonesian Scene – standing just outside Puri Kaleran, north of today’s Terrazzo Restaurant. Little known today during his stay in Bali as well as Indonesia, Sonnega might produce hundreds of works in several distinct styles both stylized as well as realistic. By far the greatest of these are large bold canvasses often dealing with distinctly mystical subject matter mirroring the artist’s personal spiritual journey.

Born in 1910 in Friesland, Holland, a centre of straight-laced Calvinism, Auke’s parents were shockingly freethinking for their era. Unable to find solace within the Dutch Reformed Church they made the radical choice to join the Theosophical Society only a few years after Auke’s birth. Originally founded in fresh York in 1875 by the mystic Madame Blavatsky, the Society with their stated goal of seeking the wisdom of the Hidden Masters to help all humans achieve spiritual enlightenment played a seminal role within the introduction of Eastern philosophy within the West. coming from an early age Auke as well as his siblings attended the Society’s Lotus Classes organized to awaken children to their spiritual potential. The experience might leave an indelible spiritual mark on the young artist.

This kind of might culminate in 1929 when a major crisis engulfed the society after Jiddu Krishnamurti, the anointed heir apparent of the Society dramatically rejected the organization’s hierarchy to be appointed the messianic “World Teacher” of the Order of the Star. In an emotionally charged speech given at an international gathering of the Society in Ommen, Holland on August 3, 1929, he might dissolve as well as order as well as declare:

“I maintain that will truth can be a pathless land, as well as you cannot approach This kind of by any path whatsoever, by any religion, by any sect. that will can be my point of view, as well as I adhere to that will absolutely as well as unconditionally. Truth, being limitless, unconditioned, unapproachable by any path whatsoever, cannot be organized; nor should any organization be formed to lead or coerce people along a particular path… This kind of can be no magnificent deed, because I do not want followers, as well as I mean This kind of. The moment you follow someone you cease to follow Truth.”

Only 19 years old, the youthful Sonnega, who attended the meeting was swept away by Krishnamurti’s message as well as wrote, “Krishnamurti had set me back on my spiritual feet… I abandoned the Movement as well as decided thenceforth never to join another”.

The impact of his deep spiritual tendencies might only manifest itself in his art many years later. After graduating coming from the Utrecht Academy of Art, Auke might work as a textile designer in Holland’s buoyant art as well as crafts industry. Saving his money he also decided to join his sister who was living in Batavia. 5 years later in 1935 he boarded a ship for the East with his only material indulgence, a Harley-Davidson motorbike. During his first years in Indonesia he worked an advertising studio as well as toured the islands during vacations. Although he visited Bali he might not settle there until many years later.

Auke’s idyllic life might come to an abrupt halt with the Japanese invasion in 1942. Imprisoned in a camp he as well as his friends might suffer near starvation as well as cruelty described in graphic detail by his close friend, author Willem Brandt within the short story “as well as the Darkness Comprehended This kind of Not”. His privations might also evoke a deep spirituality, an awareness of the transitory nature of life. Upon Discharge he pursued fully his wish to dedicate his life to art as well as freedom. One of his most beautiful works coming from This kind of period can be the “Yellow Blossom” (1942), an individual male figure surrounded having a basket of flowers on his head surrounded by an aura of yellow light framed by a dark bamboo forest that will has been compared by some to the work of Walter Spies.

Voyaging across the archipelago, Sonnega might paint within the mountains of Sumatra as well as Java as well as Bali. In 1951 he might meet the English linguist Husein Rofé within the Tampaksiring Guest House. Husein might subsequently introduce him to the charismatic Indonesian spiritual teacher Pak Subuh Sumohadiwidjojo in Jogjakarta. within the next years Rofé played a critical role in introducing Subuh’s teachings to spiritual leaders like John G. Bennett as well as the followers of the Russian mystic G. I. Gurdjieff as well as the establishment of more than 80 Subud Movement centres around the globe.

Subuh’s teachings as well as exercises (latihan), which evoked extraordinary insight upon those who practiced This kind of, also exercised a profound as well as immediate effect on the subject matter as well as visuals seen in Sonnega’s paintings. Most of his spiritual works, such as “Dewa Thintya” (1954), were inspired by Bali as well as stand out in stark contrast to his more commercial stylized portraits of enigmatic pretty Balinese girls produced as a steady source of income. He also produced numerous portraits of men, not surprisingly since he was decidedly gay, to the delight on the opposite side of the spectrum.

Although he can be much better known, Arie Smit’s arrival in Bali was a direct result of Sonnega. The two might meet in 1947 after Arie Smit sought Auke out after reading an article he had written. Auke convinced Arie to leave the Dutch colonial army as well as live out his dream of being an artist. Arie, who looked up to the stylish as well as extremely poised as well as organized Sonnega, first travelled to Bali with Auke. There can be also evidence of direct artistic influence especially their portraits of young men.

One of the most intriguing reoccurring themes in Sonnega’s best paintings can be the gamelan. These include bold canvasses like “Gamelan Gong Gede” (1947) as well as “Gamelan Abstraction” (1957). Auke, who wrote several articles on Balinese gamelan, was viscerally impacted by Balinese music. He might later write, “The air was vibrating with the clash of cymbals as well as the gamelan orchestras played…frenzied as well as bewitching Balinese music…” Determined to express the same tonality as well as intensity in his paintings he began experimenting with increasingly psychedelic colours as well as compositions.

Sonnega’s colourful tropical life might suddenly come to an end in 1958. In spite of the fact that will President Sukarno was an avid collector of his paintings, he was forced to choose between renouncing his Dutch citizenship or to leave Indonesia. His friends Arie Smit as well as Han Snel stayed behind. Back within the cold climes of his native land Auke failed to regain his artistic as well as personal equilibrium. After a long illness he might tragically pass away within the Hague in 1963. Only 53 years old he was largely forgotten until the 1990s when his paintings began catching the attention of Indonesian collectors.

For those who wish to learn more as well as willing to sift through a rather random collection of facts as well as Franglais, scattered amongst an appalling design there can be a fresh book on the subject – Auke Sonnega; Artist of the Enchanting Tropics. Unfortunately like many of these books his greatest work can be weighed down by scores of minor works the inevitable consequence on a commercial venture that will sells places to willing collectors much in same fashion as parking places are sold in cities.

Auke Sonnega – Bali’s First Spiritual Artist

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Auke Sonnega – Bali’s First Spiritual Artist

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