Tracing women artists in Indonesia (1940-1970) - Revision history

Wikihyphen at 09:49, 11 March 2026

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	==About the annotated bibliography==		==About the annotated bibliography==
	For now, we are focusing on the artists' whose practices began in 1940-1970. There is no particular reluctance on expanding the years of these practices. It is simply where the research interest of RUAS and Hyphen— met when we began this work.		For now, we are focusing on the artists' whose practices began in 1940-1970. There is no particular reluctance on expanding the years of these practices. It is simply where the research interest of RUAS and Hyphen— met when we began this work.

			==Contributors==
			Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

	==How to contribute to this==		==How to contribute to this==

GraceSamboh at 06:22, 21 November 2025

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	Aty Ismangil’s name appeared on page 56. Her painting Kali Progo was discussed; its style of delicate lines was compared to Ruliyati’s painting style, which was firm, hard, and rigid.		Aty Ismangil’s name appeared on page 56. Her painting Kali Progo was discussed; its style of delicate lines was compared to Ruliyati’s painting style, which was firm, hard, and rigid.

	==Attika (Atikah==		==Attika (Atikah)==
	* '''Yok, Oei Sian. “The Role of Lines in Painting”, ''Star Weekly'', 18 July 1959.'''		* '''Yok, Oei Sian. “The Role of Lines in Painting”, ''Star Weekly'', 18 July 1959.'''
	This article made a comparison between two exhibitions – an exhibition that presented the work of “Yin Hua” painters in Tati Gallery (Prinsenpark, Jakarta) and the exhibition of seven Indonesian painters in Balai Budaya in July 1959. Water and ink, the mediums that were apparent in the “Yin Hua” exhibition, were compared to the acrylic paintings of the second exhibition. The only woman who contributed to the second exhibition was Attika. Oei Sian Yok wrote that Attika often painted flowers, even though her paintings were still not yet fully refined in the terms of technique–especially when she was painting a vase.		This article made a comparison between two exhibitions – an exhibition that presented the work of “Yin Hua” painters in Tati Gallery (Prinsenpark, Jakarta) and the exhibition of seven Indonesian painters in Balai Budaya in July 1959. Water and ink, the mediums that were apparent in the “Yin Hua” exhibition, were compared to the acrylic paintings of the second exhibition. The only woman who contributed to the second exhibition was Attika. Oei Sian Yok wrote that Attika often painted flowers, even though her paintings were still not yet fully refined in the terms of technique–especially when she was painting a vase.

GraceSamboh at 06:22, 21 November 2025

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	~~==About the annotated bibliography==~~
	For now, we are focusing on the artists' whose practices began in 1940-1970. There is no particular reluctance on expanding the years of these practices. It is simply where the research interest of RUAS and Hyphen— met when we began this work.

	==Initiator==		==Initiator==
	The Indonesian Women's Archives and History Space (RUAS) is a collective space for women's critical thinking, run by historians and activist-scholars. RUAS' work includes archiving that is oriented towards memory, activism practices, women's thoughts and feelings, for justice, social, political and cultural change.		The Indonesian Women's Archives and History Space (RUAS) is a collective space for women's critical thinking, run by historians and activist-scholars. RUAS' work includes archiving that is oriented towards memory, activism practices, women's thoughts and feelings, for justice, social, political and cultural change.

	RUAS defines archiving-activism as a social movement which documents movements, thoughts and feelings, as well as presenting women's narratives that are overlooked in Indonesia's mainstream history. We aim to care for and recall women's movements as a way to support social change and bring about justice as well as equality.		RUAS defines archiving-activism as a social movement which documents movements, thoughts and feelings, as well as presenting women's narratives that are overlooked in Indonesia's mainstream history. We aim to care for and recall women's movements as a way to support social change and bring about justice as well as equality.

			==About the annotated bibliography==
			For now, we are focusing on the artists' whose practices began in 1940-1970. There is no particular reluctance on expanding the years of these practices. It is simply where the research interest of RUAS and Hyphen— met when we began this work.

	==How to contribute to this==		==How to contribute to this==

GraceSamboh: /* About the annotated bibliography */

2025-11-21T06:21:54Z

About the annotated bibliography

← Older revision		Revision as of 06:21, 21 November 2025
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	==About the annotated bibliography==		==About the annotated bibliography==
	~~Lorem ipsum~~		For now, we are focusing on the artists' whose practices began in 1940-1970. There is no particular reluctance on expanding the years of these practices. It is simply where the research interest of RUAS and Hyphen— met when we began this work.

	==Initiator==		==Initiator==

GraceSamboh: /* How to contribute to this */

2025-11-21T06:21:14Z

How to contribute to this

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	==How to contribute to this==		==How to contribute to this==
	~~Lorem ipsum~~		You are more than welcome to grow to this annotated bibliography. Please send your contribution via this form.

	==Alimah==		==Alimah==

R Intan: /* Joint/Group Categories */

2025-11-18T10:50:15Z

Joint/Group Categories

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	* '''Khouw, Ida Indahwati. “It doesn’t mean that Indonesia had no women painters in the past”. Jakarta Post, 30 October 2001.'''		* '''Khouw, Ida Indahwati. “It doesn’t mean that Indonesia had no women painters in the past”. Jakarta Post, 30 October 2001.'''
	This article stated that women painters at the time had difficulties and restrictions due to their marginalized position in society. Merwan Yusuf, the Curator of the National Gallery of Indonesia, proposed a question, "As a wife, would women be permitted to leave the house at night for the sake of art?” Painter Titik Sunarti continued, “Women's role as wives requires them to be domestic, to fulfill their household needs. That's why many female artists don't have enough time to read to grow their knowledge.” The names of the female artists mentioned were '''Emiria Sunassa''' (as the predecessor) and the generation that came after the founding of ASRI: '''Ruliyati''', '''Kustiyah''', '''Maria Tjui''' and '''Kartika'''.		This article stated that women painters at the time had difficulties and restrictions due to their marginalized position in society. Merwan Yusuf, the Curator of the National Gallery of Indonesia, proposed a question, "As a wife, would women be permitted to leave the house at night for the sake of art?” Painter Titik Sunarti continued, “Women's role as wives requires them to be domestic, to fulfill their household needs. That's why many female artists don't have enough time to read to grow their knowledge.” The names of the female artists mentioned were '''Emiria Sunassa''' (as the predecessor) and the generation that came after the founding of ASRI: '''Ruliyati''', '''Kustiyah''', '''Maria Tjui''' and '''Kartika'''.
			* '''Setiawan, Hersri. 2004. ''Memoar Pulau Buru (Memoirs of the Buru Island)''. Magelang: Indonesia Tera.'''
			'''Alimah''' was mentioned in Hersri Setiawan's writing as a female surrealist painter, a member of the People’s Painters Workshop led by Hendra Gunawan. Hersri stated that in 1964, '''Alimah''', '''Kustiyah''', '''Kartika''', '''Mia Bustam''', and '''Roelijati''' held a painting exhibition at the People’s Painters Workshop in Sentul, Yogyakarta.
			* '''Spanjaard, H. (2003). ''Javanese tradition: In Framing Indonesian Realities''. Leiden, The Netherlands: Brill.'''
			This essay examined the work of Astari Rasjid and Arahmaiani along with their standing and tension with the patriarchal Javanese society. Their practice was thought to be not new. One part of this essay showed the historiography of female artists in Indonesia, especially in Java, which was sourced from three catalogs from the collections of the National Gallery of Indonesia. Unsurprisingly, the historical periods followed the canon established by Kusnadi (see Kusnadi, 1979. History of Indonesian Fine Arts. Jakarta: The Ministry of Education) even though the names of female artists were included in the essay. The names mentioned (in relation to this annotation) were: '''Sriyani Hudyonoto''', '''Kustiyah''', '''Siti Ruliyati''', '''Kartika''' and '''Maria Tjui'''.
			* '''Bianpoen, Carla; Farah Wardani; Wulan Dirgantoro; Waugh, Heather. (2007). ''Indonesian women artists: the curtain opens/text, bibliographical data and artists monographs by Carla Bianpoen, Farah Wardani, Wulan Dirgantoro; edited by Carla Bianpoen and Heather Waugh''. Jakarta: Yayasan Seni Rupa Indonesia (Indonesian Fine Arts Foundation).'''
			This book discussed the lives and works of female artists from the early 20th century to the present, and it confirmed the active presence of female artists in the national art sphere. '''Emiria Soenassa''' was mentioned in the introduction of this book as the starting point of women's involvement in the male-dominated Persagi art circle. She was from Eastern Indonesia; she loved adventure and traveled a lot, which was unconventional for women of her time. Her paintings depicted indigenous local lores, tribal figures and models from the working class, which can be regarded as early feminist artistic works. So far, her role has been almost forgotten and unmentioned in the modern history of Indonesian art. <br>
			<br> Emiria's background was full of mystery. In the latest finding, it was revealed that she was the daughter of the Sultan of Tidore, she had access to higher education and she even traveled to Europe. She was also politically aware and represented Papua at the United Nations Round Table Conference in 1949. Her painting skill was self-taught and she built her own style. Emiria joined Persagi. She introduced her idea of a nationalistic style, which countered the art style that emphasized Javacentrism. She also had a solo exhibition with Poetera during the Japanese occupation. Her second solo exhibition was in 1946 in Jakarta. She soon disappeared from the arts and social circles. <br>
			<br> Emiria was very private about her personal life. Her works were discovered some thirty years after her death—and also the fact that she passed away in Lampung, Sumatra. Her works were entrusted to Jane Waworuntu. Emiria's biographical description was quite comprehensive in this book due to the recent studies of her life and contribution to the arts of Indonesia. <br>
			<br> '''Kartika''' was discussed in the opening introduction, written by Toeti Heraty, whom she knew personally. Toeti described Kartika's career journey, her closeness to her father, and also the fact that she was trying to get out of her father's overshadowing and be herself. The introduction also described Kartika's marriage to a fellow painter, the dynamics of her married life, and how she became a matriarch with eight children in the midst of her extended family. Toeti described Kartika as a strong woman who had an extraordinary life and continually expressed that extraordinariness through her art. She was a survivor. Kartika believed that her best paintings were made when she was furious and able to express her emotions fully. <br>
			<br> Kartika was born in 1934, she was described as the first Indonesian female painter who filled the canvas with one's personal emotional turmoil and was also very productive. Affandi and Maryati's only child, married young at the age of 17, divorced when she was pregnant with her eighth child because her husband was polygamous. She was remarried in 1985 but later divorced again. Many reflective thoughts on her life journey transpired in Kartika's paintings. The description of Kartika's biography in this book was presented with a comparison of her best works, along with the account of important events in her life. <br>
			<br> '''Saptarita Latif''' was mentioned along with Emiria Sunassa as a member of Persagi female artists. However, there were no further details. <br>
			<br> Tridjoto Abdullah was mentioned in the introduction as a sculptor whose works were placed in well-known places but were rarely mentioned in Indonesian art writings. Only a few of her works had survived to this day and her reputation was overshadowed by Basuki Abdullah. Her father was R. Abdullah Surjobroto, Indonesia's first indigenous painter. Tridjoto was the first Indonesian sculptor, not only the first female sculptor. Her works can be found in Yogyakarta, Madiun and Jakarta. She developed her skills under the supervision of Professor Tierfelder and Schoemacher (ITB). <br>
			<br> Her skill in working with clay, particularly her realist expressive techniques, had earned the attention of experts. She pursued the study of anatomy, scale and proportion and she made portraits from sculptures. She began making sculptures for the public after the death of her first husband, Ki Tjokro Suharto, a progressive teacher at Taman Siswa. She worked on public projects through the link of Taman Siswa, which was close to Sukarno at that time. Her remaining works: Garuda (Yogyakarta), Light and Shadow (Jakarta), and Wounded Bull (Madiun). The nationalistic style was very prominent in these works. She got remarried to Dr. Slamet, founder of the Muhammadiyah University Solo. Tridjoto died from a fall in 1989.
			* '''Dirgantoro, Wulan. 2017. Feminism and Contemporary Art in Indonesia: Defining Experiences. Amsterdam: Amsterdam University Press.'''
			The chapter “Haunting in the Archipelago” compared '''Emiria Sunassa''' and '''Mia Bustam''' to examine the foundation era of the ideology of modern Indonesian art. This paper attempted to link nationalism, art, and gender in the history of Indonesian art. It discussed the important period of the 1940s to 1960s through the framework of feminism and psychoanalysis. Emiria Sunassa's experience was comprehensively covered in the most recent collected studies on her. It included her diverse occupations and her journey to various places in Europe and remote Indonesia. She often lived with local indigenous people in various places in the hinterlands. <br>
			<br> A chapter is dedicated to examine Emiria's works one by one. There were figures of various indigenous women presented in an unusual style that looked foreign to the cosmopolitans. The text also traced Emiria's nude and landscape paintings which were very different in style. In those works, there was a rediscovery of women, those who were indigenous and had a close-knit with Mother Earth; these are subjects that did not appear in the masculine imagination of the nation-state—a concept that was prominent at that time. The dark facets in Emiria's paintings were intended to re-question things that are on the margin and to reveal the unknown processes within the concept of understanding nationalism. Wulan argued that Emiria's paintings were political statements against the newly established republic. They were far from the narrow idea of masculinity and nationalism. <br>
			<br> Discussed alongside Emiria, Mia’s creative years as a female painter were in the 1950s and it was cut short in 1965. Wulan approached Mia through her published memoirs. The publication of the memoirs had a gap of about a decade due to Mia’s status as a political prisoner. Most of Mia’s works could no longer be found, but the traces of her creative processes were documented in her memoirs. The figure of Mia and her activities as a female artist, apart from Sudjojono and her role in SIM and Lekra, were documented quite well in the writings. In both of Mia's memoirs, her struggles and artistic process were described in detail. Wulan believed that Mia Bustam and Emiria were extraordinary women who had succeeded in plaguing the Indonesian art world. Mia with her haunting notes had set herself as a female artist, shattered the myths of Sudjojono’s figure, and made us reconsider the role of female artists from time to time. <br>
			<br> '''Maria Tjui''' was mentioned in one part of Mia Bustam's memoirs, in which she was also mentioned as a student of Sudjojono. Tridjoto Abdullah's short biography was written briefly in the footnotes.
			* '''Dirgantoro, Wulan. ''Interrogating the Feminine in Indonesian Modern and Contemporary Art''. Southeast of Now: Directions in Contemporary and Modern Art in Asia 3, No. 1 (2019): 103-124.'''
			Wulan attempted to compare female artists across generations, Emiria Sunassa (1894 - 1964) with IGAK Murniasih (1966 - 2001) and Dita Gambiro (born 1986) to reimagine the representation of the female bodies in the Indonesian visual arts. Emiria was labeled as the “Mother of Indonesian Modern Art" since she was one of the pioneers who were active in the art scene during the early days of the republic. <br>
			<br> Formerly, her works often depicted portraits of various indigenous people, but in the later period, she painted many nudes. Wulan cited Arbuckle in her analysis of Emiria's nudes; it was stated that the paintings were attempts to escape her sickly body. Emiria sometimes added extra body parts in her paintings (legs, arms) and these paintings were made when she was self-isolating out of Jakarta. These paintings could also be seen as a resistance of an unattractive and unsettling body, opposing the colonial idea of women's bodies in paintings. <br>
			<br> Wulan believed that Emiria's and IGAK Murniasih's works have similarities in the depiction of strange and fantastic body figures—IGAK Murniasih previously did not have references to Emiria's work (Emiria's works were only known to the public around the 2000s). She also argued that the works of female artists were seen as merely about “women's stuff”. Wulan elaborated her discussion by adding the development of the works of a contemporary female artist, Dita Gambiro, who had more flexibility in her creative process. Dita’s depiction of female bodies were not just specified to bodily issues. <br>
			<br> '''Tridjoto Abdullah''''s name was mentioned as a reference in this journal; this is an example of how little we know about female artists.
			* '''Janti, Nur, 2018. Perempuan dalam Dunia Seni Rupa Indonesia (Women in the Indonesian Fine Arts Scene).'''
			This article argued that patriarchy was the main obstacle in the careers of women artists in Indonesia. The article mentioned the names of women artists who were active from the 1960s to the 1990s, including Emiria Sunassa, Sriyani, Kustiyah, Ruliyati, and Kartika. Ironically, there was Zaini, a male painter, who got mentioned among these women's names.
			* '''Celestine, Titania. 2021. ''Merayakan Hari Ibu Koalisi Seni Mengingat Seniman Perempuan Yang Telah Dilupakan Sejarah. (Celebrating Mother’s Day, The Art Coalition Remembers Female Artists Who Got Forgotten by the History)''.'''
			This paper was the result of an assessment by the Art Coalition to collect the names of missing or unpopular female artists. There were four female artists: Artemisia Gentileschi, '''Mia Bustam''' (Fransiska Emanuela Sasmiati), '''Emiria Sunassa''', and '''Maryati'''. Their biographies were briefly mentioned in this article. Read the article [https://www.whiteboardjournal.com/ideas/art/merayakan-hari-ibu-koalisi-seni-mengingat-seniman-perempuan-yang-telah-dilupakan-sejarah/ here].

R Intan at 11:04, 14 November 2025

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	<br> Ruliyati was one of the most active female artists of her time. She found her unique approach and chose for herself how she wanted to be involved in the art scene and how she maintained her artistic process. Ruliyati's process was the epitome of a subjective strategy of a female artist choosing one’s area of movement without having to sacrifice creativity.		<br> Ruliyati was one of the most active female artists of her time. She found her unique approach and chose for herself how she wanted to be involved in the art scene and how she maintained her artistic process. Ruliyati's process was the epitome of a subjective strategy of a female artist choosing one’s area of movement without having to sacrifice creativity.

	==~~JOINT~~/~~GROUP CATEGORIES~~==		==Joint/Group Categories==
	* '''Wartawan Nasional, 7 November 1956, “Exposisi Lukisan-Lukisan Kaum Wanita: Disambut Gembira Oleh Pelukis-pelukis Pria” (Exposition of Women Paintings: Plauded by Male Painters).'''		* '''Wartawan Nasional, 7 November 1956, “Exposisi Lukisan-Lukisan Kaum Wanita: Disambut Gembira Oleh Pelukis-pelukis Pria” (Exposition of Women Paintings: Plauded by Male Painters).'''
	This article discussed the first exhibition held by female painters, which was warmly appreciated by the male painters. There were about 30 paintings on display at the Indonesian Artists Workshop in the North Square of Yogyakarta. This exhibition was held on Mother's Day in December 1956. It was prepared by female painters and several other fellow artists (as well as the male artists’ wives as the committees). Some of the paintings on display are surrealistic, and some others are expressionistic. Kustiyah was said to be still serving at ASRI, as were Kartika and Ruliyati—both were involved in the exhibition.		This article discussed the first exhibition held by female painters, which was warmly appreciated by the male painters. There were about 30 paintings on display at the Indonesian Artists Workshop in the North Square of Yogyakarta. This exhibition was held on Mother's Day in December 1956. It was prepared by female painters and several other fellow artists (as well as the male artists’ wives as the committees). Some of the paintings on display are surrealistic, and some others are expressionistic. Kustiyah was said to be still serving at ASRI, as were Kartika and Ruliyati—both were involved in the exhibition.

R Intan at 11:03, 14 November 2025

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	<br> In the early 1970s, she decided to retire early from teaching on campus. She provided private lessons for female students from the upper class. She also made picture postcards and designed batik. With her busy schedule, she sometimes drew in a taxi. She never used photo references as she relied on her memory of the moment. Ruliyati’s exhibitions had never been reviewed by her husband, Dan Suwaryono, despite the fact that he was an art critic. <br>		<br> In the early 1970s, she decided to retire early from teaching on campus. She provided private lessons for female students from the upper class. She also made picture postcards and designed batik. With her busy schedule, she sometimes drew in a taxi. She never used photo references as she relied on her memory of the moment. Ruliyati’s exhibitions had never been reviewed by her husband, Dan Suwaryono, despite the fact that he was an art critic. <br>
	<br> Ruliyati was one of the most active female artists of her time. She found her unique approach and chose for herself how she wanted to be involved in the art scene and how she maintained her artistic process. Ruliyati's process was the epitome of a subjective strategy of a female artist choosing one’s area of movement without having to sacrifice creativity.		<br> Ruliyati was one of the most active female artists of her time. She found her unique approach and chose for herself how she wanted to be involved in the art scene and how she maintained her artistic process. Ruliyati's process was the epitome of a subjective strategy of a female artist choosing one’s area of movement without having to sacrifice creativity.

			==JOINT/GROUP CATEGORIES==
			* '''Wartawan Nasional, 7 November 1956, “Exposisi Lukisan-Lukisan Kaum Wanita: Disambut Gembira Oleh Pelukis-pelukis Pria” (Exposition of Women Paintings: Plauded by Male Painters).'''
			This article discussed the first exhibition held by female painters, which was warmly appreciated by the male painters. There were about 30 paintings on display at the Indonesian Artists Workshop in the North Square of Yogyakarta. This exhibition was held on Mother's Day in December 1956. It was prepared by female painters and several other fellow artists (as well as the male artists’ wives as the committees). Some of the paintings on display are surrealistic, and some others are expressionistic. Kustiyah was said to be still serving at ASRI, as were Kartika and Ruliyati—both were involved in the exhibition.
			* '''Yok, Oei Sian. “Pameran Pelukis-Pelukis Wanita” (The Exhibition of Female Painters), ''Star Weekly'', February 18, 1961.'''
			This article reviewed the exhibition of female painters, which was a part of the 5th Indonesian Women's Congress at the residence of Governor Dr. Soemarno. The Congress discussed the importance of national character and the role of women in universal development: what is the role of Indonesian women in the art world? What have women achieved in painting? <br>
			<br> Most female painters had no academic background and many took up painting as a hobby. It was remarkable to notice that women seek self-expression in the arts and did not immerse themselves in the monotony of daily life nor settle for superficiality. <br>
			<br> There was a plethora of beloved objects, from flowers, nature, inanimate stuff and fruits to portraits, and there was a display of diverse styles, such as '''Mrs. Alice''' with her naturalist flower painting, '''Mrs. Soehardi''' with her original landscape, '''Mrs. Dolok Iskanda''' with her composition, '''Mrs. Amir Murad''' with her portrait of children, '''Mrs. Judith Waworuntu''' with her well-known style, illustrated a Balinese mermaid fairy tale, '''Sriyani''' with her three pieces, '''Mrs. Lie Khin P.''' with her "Kroton", which looked decorative, harmonious and joyful, '''Kartika''' with her painting of a mother showing love for her dog and children. '''Mrs. Soedjatmoko''' with her temple-relief-looking "War Dancer", and '''Mrs. Suwedi''' with her fine textile materials. <br>
			<br> The paintings were presented as applied arts in various forms, on scarves, women's bags, plates, jars and even bamboo fans.
			* '''Revolusioner, 8 August 1963, ''“3 Seniman Wanita Indonesia” (3 Indonesian Female Artists)''.'''
			This short article contained two photos of the opening of the exhibition, which was opened by Dr. Mrs. Hurustiati Subandrio. Kustiyah, Ruliyati and Kartika were involved in the exhibition. It was held at the Jakarta Cultural Center to celebrate Independence Day, 17 August 1963.
			* '''Dermawan T. Agus. SUARA KARYA MINGGU, first Sunday of June 1991, ''“Wanita Seni Rupa Indonesia” (The Women of Indonesian Fine Arts)''.'''
			'''Emiria Sunassa''' was mentioned as the pioneer female artist in Indonesia, she came from the royal family of Tidore. It was stated that she had exhibited with male artists at that time in West Gambir. S. Sudjojono even wrote about it in a Japanese newspaper, but shortly her name seemed to be forgotten. <br>
			<br> '''Tridjoto Abdullah''' studied sculpture with two art professors at Bandung Institute of Technology: Prof. Tierfelder and Prof. Schoemaker. She started making statues from a fist until she became a professional sculptor in 1952. One of them was the Garuda statue at the gate of the Air Force complex in Maguwo, Yogyakarta. She exhibited only once with her brother, Basuki Abdullah. Many of her paintings and sculptures were then simply kept at home. <br>
			<br> '''Ruliyati''' was mentioned as a sketcher for commoners and as a graduate of ASRI Yogyakarta. When she was no longer painting, she taught art to her friends.
			* '''Bianpoen, Carla dan Jaarsma, Mella. “Perempuan Perupa: Antara Visi dan Ilusi” (Women Artists: Between Vision and Illusion). Perempuan Indonesia: Dulu dan Kini (Indonesian Women: Past and Present). edited by Oei-Gardiner, Mayling (etc). Gramedia Pustaka Utama, 1996, pg. 71 - 105.'''
			Emiria Sunassa's profile was stated at the beginning of the article, although the details about her marriage to the Sultan of Tidore were not proven correct (in Arbuckle's research later in 2011, Emiria was in fact a descendant of the Sultan of Tidore). It was also stated that she had multiple occupations. Emiria's name was recorded as the first female painter in Indonesia. Emiria also lived a non-traditional life. The author wondered if this was because she came from Manado, which had a different cultural backdrop. <br>
			<br> '''Kartika''' grew up within the artistic circle of her parents. Marriage was more likely to be an obstacle rather than a booster of a woman's career. Kartika could not paint professionally during her first 20 years of marriage to her artist ex-husband. It was only after giving birth to her eighth child and getting divorced that she was able to develop her artistic career. Although Kartika grew up in an environment that seemed to support her to paint, during her first marriage, her husband advised her not to waste money by buying painting materials and tools for herself. Kartika was constrained by the values of the people around her, even though her father was the renowned Affandi. She said that the opportunities for women in the art world were scarce. As a married woman, she gave birth to a child every two years. Kartika painted self-portraits to voice herself. She finally got divorced in 1974. Kartika's works were often about the role and status of women in society and the sexual revolution. <br>
			<br> '''Tridjoto Abdullah''' was briefly mentioned as Indonesia's first sculptor, but it was also stated that she only exhibited once, and that was with her brother, Basuki Abdullah.
			* '''Khouw, Ida Indahwati. “It doesn’t mean that Indonesia had no women painters in the past”. Jakarta Post, 30 October 2001.'''
			This article stated that women painters at the time had difficulties and restrictions due to their marginalized position in society. Merwan Yusuf, the Curator of the National Gallery of Indonesia, proposed a question, "As a wife, would women be permitted to leave the house at night for the sake of art?” Painter Titik Sunarti continued, “Women's role as wives requires them to be domestic, to fulfill their household needs. That's why many female artists don't have enough time to read to grow their knowledge.” The names of the female artists mentioned were '''Emiria Sunassa''' (as the predecessor) and the generation that came after the founding of ASRI: '''Ruliyati''', '''Kustiyah''', '''Maria Tjui''' and '''Kartika'''.

R Intan at 09:56, 14 November 2025

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	* '''[https://nationalgeographic.grid.id/read/131838573/meniti-lembaran-mia-bustam-mantan-tahanan-politik-geger-1965?page=all Luis, Silvia Triyanti. 2019. Meniti Lembaran Mia Bustam, Mantan Tahanan Politik Geger 1965 (Walking Through the Life of Mia Bustam, an ex-Politial Prisoner from the 1965 Riot).]'''		* '''[https://nationalgeographic.grid.id/read/131838573/meniti-lembaran-mia-bustam-mantan-tahanan-politik-geger-1965?page=all Luis, Silvia Triyanti. 2019. Meniti Lembaran Mia Bustam, Mantan Tahanan Politik Geger 1965 (Walking Through the Life of Mia Bustam, an ex-Politial Prisoner from the 1965 Riot).]'''
	* '''[https://jateng.suara.com/read/2020/09/30/163357/tragedi-1965-mia-bustam-perempuan-yang-dirampas-kemerdekaanya?page=all Romadhoni, Budi Arista. 2020. Tragedi 1965, Mia Bustam, Perempuan yang Dirampas Kemerdekaannya (The 1965 Tragedy, Mia Bustam, a Woman Whose Freedom Got Robbed).]'''		* '''[https://jateng.suara.com/read/2020/09/30/163357/tragedi-1965-mia-bustam-perempuan-yang-dirampas-kemerdekaanya?page=all Romadhoni, Budi Arista. 2020. Tragedi 1965, Mia Bustam, Perempuan yang Dirampas Kemerdekaannya (The 1965 Tragedy, Mia Bustam, a Woman Whose Freedom Got Robbed).]'''

			==Saptarita Latif==
			* '''Saburo, Ienaga. 1979. The Pacific War 1931-1945, A Critical Perspective on Japan’s Role in World War II. Pantheon Books.'''
			Saburo mentioned that Saptarita was a female painter who became a victim of Japanese military brutality.
			* '''Diah, Herawati. 1993. Kembara Tiada Akhir (A Never-ending Journey). Jakarta: Yayasan Keluarga.'''
			Saptarita Latif, a female painter who was a member of PERSAGI (Indonesian Painters Association) – the organization that was founded by Sudjojono. Saptarita’s life was seldomly written on. Saptarita was the daughter of Dr. Latif and Siti Alimah. In Herawati Diah’s biography, which was an older sister of Saptarita, it was told that Saptarita became a victim of the 1965 political distress. After the event, she died.
			* '''Dirgantoro, Wulan. 2017. Feminism and Contemporary Art in Indonesia: Defining Experiences. Amsterdam: Amsterdam University Press.'''
			Saptarita Latif’s name was mentioned together with Emiria Sunassa and Tridjoto Abdullah in the chapter “Haunting in Archipelago” as one of the female artists in PERSAGI.

			==Sriyani Hudyonoto==
			* '''Yok, Oei Sian. “Senirupa Indonesia jang representatip untuk jaman modern” (Representative Indonesian art for the modern times), ''Star Weekly'', 18 June 1960.'''
			This article stated that Sriyani was a self-taught painter. As a newcomer, Sriyani displayed 8 paintings. Among them were a lithograph of a horse, a portrait of a Spanish fisherman, and a portrait of Pak Yamin; these works demonstrated the strength of her brush strokes. The flowers had blazing colors and styles.
			* '''Yok, Oei Sian. “Kebebasan dan keberanian dalam pemakaian warna-warna. Pameran Lukisan ke-IV oleh B.M.K.N dan O.S.I.” (Freedom and courage in the use of color. The Fourth Painting Exhibition by B.M.K.N and O.S.I.), ''Star Weekly'', 29 October 1960.'''
			Sriyani was said to have participated in this exhibition and successfully showcased her nuanced black and white brush strokes technique in “Nurnaningsih” and the landscape paintings. These works differed from her usually rigid-looking oil paintings.
			* '''Yok, Oei Sian. “Manusia dalam Senilukis” (People in Paintings), ''Star Weekly'', 28 January 1961.'''
			In the exhibition held at the Merdeka Fine Arts Center (Kebayoran), Sriyani displayed paintings with powerful and firm lines circling the shapes of human bodies. She depicted the unique essence of womanhood through the image of a writing woman. The piece “Two Friends” portrayed two male figures with contrasting personalities. She also depicted the diversity of mankind in the painting of the fishermen.
			* '''Yok, Oei Sian. “Pameran 5 Pelukis Djakarta: Nashar, Mardian, Zaini, Sriyani Hudijonoto, Mardjianto” (The Exhibition of 5 Djakartan Painters: Nashar, Mardian, Zaini, Sriyani Hudijonoto, Mardjianto), ''Star Weekly'', 5 August 1961.'''
			This article stated that every painter had established a different character in their respective paintings. Oei Sian Yok compared Sriyani’s work to Zaini’s, in which both depicted a figure of a contemplating woman waiting for the birth of her child. In Sriyani’s painting, the woman and her surroundings were drawn with such great care, and it became a realistic portrait that had a distinctive tone. It seemed that the soul of the woman in the painting could speak for herself. Sriyani’s painting “Tossa del Mar” was captivating because of its scenery and landscape. “Kuda-kuda” had successfully shown a brilliant color composition and wafted a mysterious aura.

			==Tridjoto Abdullah==
			* '''Abdullah, Tridjoto. 1940. Keboedajaan dan Kesenian (The Culture and the Arts). Jakarta: Keboedajaan dan Masyarakat (The Culture and the People).'''
			This was Tridjoto’s only writing that has been published by the Batavia branch of the magazine Taman Siswa. Trijoto likens culture to a family with multifarious members that aim to reach the same goal: the advancement of the family itself. Division happens not because of culture but instead the fault of the people who do not understand the meaning of unity. The subtlety of taste is an essential part of a culture.
			* '''Dermawan, Agus T. ''Mengenang Trijoto Abdullah (Remembering Trijoto Abdullah)''. Kompas 29 January 1989.'''
			The obituary of Trijoto Abdullah was written by Agus Dermawan T. Agus noted that Trijoto was the first professional Indonesian sculptor. At first, Tridjoto learned to paint, but later in her teens, she started working with clay. Her portrait sculptures have remarkable precision, fusing a distinctive masculine and feminine style. Trijoto was a humble sculptor. Only once did she exhibit with her brother Basuki Abdullah at the Savoy Homann Hotel, Bandung in 1939. Before her passing, she had the idea to mass produce statues of Indonesian national heroes to replace the busts of Mozart or Beethoven which were often used as decoration.
			* '''Bustam, Mia. 2006. ''Sudjojono dan Aku (Sudjojono and I)''. Jakarta: ISAI.'''
			Tridjoto was mentioned in Mia Bustam's memoir as a figure who was easy-going and sociable. Mia also mentioned Tridjoto's cordiality and self-confidence when dealing with her interlocutor, Sukarno.
			* '''Dermawan, Agus T. & Basoeki Abdullah. 2015. ''Basoeki Abdullah: Sang Hanoman Keloyongan (Basoeki Abdullah: The Unhinged Hanuman)''. Jakarta: KPG.'''
			In Basoeki Abdullah's biography, Tridjoto’s story was told in five pages from her brother's point of view. The passage also recounted the process of some of Trijoto's works.
			* '''Lusandiana, Lisistrata & Amalia, Rifda. 2020. ''Nasionalisme Banteng Ketaton (The Nationalism of a Wounded Bull)''. Jakarta. Pusaka Seni Rupa.'''
			The piece about Tridjoto Abdullah in this official booklet was quite exhaustive—it was divided into three chapters. This fairly comprehensive article discussed Tridjoto Abdullah through interviews with her family and the findings from her archives, and it revealed facts about her childhood and private life. A lot of new information has been successfully summarized in this booklet, including her personality. During the revolution, Trijoto and her family had to move around. They took nothing with them, only books. Tridjoto valued knowledge. At the age of thirty, after the death of her husband, she had to raise and support her five children. She moved to Jakarta and had to become a professional sculptor. Documentation of her family photos and her works, including her writings, were documented in this booklet.

			==Ruliyati (Siti Ruliyati, Ruliati, Roelijati, Roelijati Soewardjono, Ruliyati Suwarjono)==
			* '''Yok, Oei Sian. “Tiga Pelukis Jogja (Handriko - Siti Roelijati - G. Sidharta) di Jakarta” (Three Jogja Painters (Handriko - Siti Roelijati - G. Sidharta) in Jakarta), ''Star Weekly'', 27 August 1960.'''
			This article reviewed Ruliyati's presence with delight since there were not many women in the painting circle. Ruliyati's painting skill was thought to be on par with her male contemporaries. Ruliyati's paintings were described as having dramatic shapes and lines that evoke dynamism. She was influenced by Hendra. The brush strokes in her painting “Pasar Sentool” showed her mastery in depicting the atmospheric traditional market scene. Oei Sian Yok acknowledged that Ruliyati has succeeded in depicting the female figures in the painting, though at times the colors she picked were monotonous: green, red, and dark blue.
			* '''Kompas, 3 June 1967, ''“Roelijati Tentang Lukisan dan Pamerannya” (Roelijati on Her Paintings and Her Exhibition)''.'''
			Ruliyati’s solo exhibition was held on May 24, 1967 with Mitra Budaya and inaugurated by Adam Malik. It was her fifth solo exhibition. Previously she always held her exhibition on Kartini day. However, due to technical problems, this exhibition was postponed. The custom was intended to encourage women to dive into the modern paintings of Indonesia. For Ruliyati, the act of painting was the only joy of life. In the process of this exhibition, she was looking for brand new color palettes.
			* '''Dermawan T. Agus. BERITA YUDHA, 17 March 1974, ''“Seperempat Abad ASRI” (A quarter century ASRI)''.'''
			Ruliyati's name was mentioned as part of the early generation of ASRI, along with Ida Hadjar, Danarto and Handogo.
			* '''Dermawan T. Agus. Kompas, 29 January 1979, “Roeliyati Soewarno, Pencipta Hand Painted Card Menuntut” (Roeliyati Soewarno, The Creator of Hand Painted Card Sues).'''
			This article discussed a short biography of Ruliyati, her times as an ASRI student and her productivity as a painter. Her physical limitations, in which she could not undergo exhaustion, did not prevent her from continuing to paint. She recently had an exhibition on January 18-25, 1979. In this exhibition, she displayed 80 of her watercolor paintings on paper, which she painted since 1976. She displayed many paintings of various flowers. Ruliyati complained about the absence of protection by the Indonesian government on her designs and the patents of her hand-painted cards. Many of her works were pirated and marketed without her knowing. Meanwhile, she obtained decent awards from abroad.
			* '''N. Hasri, Edy. Bintang Buana, 18 July 1989, ''“Sepuluh Wanita Menabur Warna” (Ten Women Spread Colours)''.'''
			In this exhibition, Ruliyati was mentioned as the organizer and the participant along with 10 other female painters. Her paintings and technical sketches embodied the essence of everyday life; they portrayed social phenomena. This exhibition was a collaboration of a teacher and her students. The 9 other painters were Ruliyati’s students.
			* '''Dermawan, Agus T., “Seni Lukis Kontemporer Indonesia 1950 - 1990” (Indonesian Contemporary Painting 1950 - 1990), edited by Hadisudjatmo, Supono (et al), Perjalanan Seni Rupa Indonesia: Dari Zaman Prasejarah Hingga Masa Kini (The Journey of Indonesian Fine Art: From Prehistoric Times to the Present). Bandung: KIAS Exhibition Committee 1990 - 1991, 1991, pg. 107.'''
			In this text, Ruliyati's name was mentioned as a prospective artist 6 months after ASRI was established, along with Widayat, G. Sidharta, and Edhi Sunarso.
			* '''Kusnadi. “Periode Revolusi Fisik Kemerdekaan” (Period of Physical Revolution of Independence), edited by Hadisudjatmo, Supono (et al), Perjalanan Seni Rupa Indonesia: Dari Zaman Prasejarah Hingga Masa Kini (The Journey of Indonesian Fine Arts: From Prehistoric Ages to the Present). Bandung: KIAS Exhibition Committee 1990 - 1991, 1991, pg. 91.'''
			Ruliyati's name was mentioned in the English version of this text. In Hendra's biography, there was a remark that he had a lot of influence on Ruliyati's sketches. However, this was not found in the Indonesian version.
			* '''Kapoor, Pavaan. Jakarta Post, 11 October 1998. “ASEAN Women Painters Hold Up Half The Sky”.'''
			This article discussed the painting exhibition of ASEAN female artists. Ruliyati's painting in the exhibition was said to be outstanding and unique.
			* '''Low, Yvonne. ‘Recovering Women’s Subjectivities: Siti Ruliyati and the “private” transformations of Academic Realism’, in ed. Jenna Ashton, Feminism and Museums: Intervention, Disruption and Change, Volume 2 (Boston: MuseumsEtc, 2018) 210-245.'''
			Ruliyati was mentioned as one of the first women to study art at ASRI, beside one other woman named Aty Ismangil (in her interview with Ruliyati in 2012, it was stated that Aty (correction of Arti's name to Aty Ismangil in Dan Suwaryono's writing) dropped out of ASRI due to her marriage). Ruliyati decided to be more engaged in the academic sphere rather than in the studio. She was not very comfortable in the male-dominated communal system of the latter. <br>
			<br> Ruliyati exhibited with Kustiyah and Kartika in 1963, and the exhibition received mixed responses. For Ruliyati, the most important thing about the exhibition was the assurance that she had the backing of Hurusiasti Subandrio, a politician who inaugurated the event. Supported by the network of state officials and foreign diplomats through Hurusiasti, Ruliyati successfully hold solo exhibitions in 1964 and 1966. <br>
			<br> In the early 1970s, she decided to retire early from teaching on campus. She provided private lessons for female students from the upper class. She also made picture postcards and designed batik. With her busy schedule, she sometimes drew in a taxi. She never used photo references as she relied on her memory of the moment. Ruliyati’s exhibitions had never been reviewed by her husband, Dan Suwaryono, despite the fact that he was an art critic. <br>
			<br> Ruliyati was one of the most active female artists of her time. She found her unique approach and chose for herself how she wanted to be involved in the art scene and how she maintained her artistic process. Ruliyati's process was the epitome of a subjective strategy of a female artist choosing one’s area of movement without having to sacrifice creativity.

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 * '''Basil. 2006. Wasiat Mas Djon (Mas Djon’s Will).'''
 * '''Hasugian, Maria. 2008. Kepahitan Tanpa Dramatisasi (A Bitterness Without Dramatisation).'''
-* '''Majalah Tempo, 10 January 2011. “Akhirnya Kebenaran Akan Bicara.” (The Truth Will Eventually Speak).'''
+* '''[https://www.tempo.co/teroka/akhirnya-kebenaran-akan-bicara-944316 Majalah Tempo, 10 January 2011. “Akhirnya Kebenaran Akan Bicara.” (The Truth Will Eventually Speak).]'''