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Raden Saleh (1811-1880), Dutch Indies now Indonesia

Apart from other writings, the principal understanding of Raden Saleh has been accomplished by Werner Kraus working chiefly on Indonesian and German sources, and Marie-Odette Scalliet, working on Indonesia and French sources as well as archival documents in Dutch from the court and other government archives in Den Haag. These include the secret briefing reports to the King. Modern knowledge about Raden Saleh, rather than hearsay commentary on handed down rumours, is almost entirely due to their efforts, and much of what follows would have been impossible without their work and the directions for inquiry indicated by it. Precursor discourses domestic 1778 VOC founds the Bataviaasch Genootshcap voor Kunsten en Wettens Chappen Terms related to painting in classical Javanese: Ranggâjiwa painter or decorator Citrakara maker of citra, image that is a painter Citraleka image or painting Prabangkara painter Contemporary Javanese works for painter Penyungging, juru sungging, juru gambar (SY (Sanento Yuliman Hardiwardoyo), 1981, 13-14) Citation from Ma Huan in Yingyai Shenglan, 1416 apparently a description of a wayang-bèbèr or wayang-karèbèt

There is a sort of men who paint on paper men, birds, animals. Insects and so on: the paper is like a scroll and is fixed between two wooden rollers three feet high; at one side these rollers are level with the edge of the paper whilst they protrude on the other side. The man squats down on the ground and places the picture before him, unrolling one part after the other and turning it towards the spectators, whilst in the native language and in a very loud voice he gives an explanation of every part; the spectators sit around him and listen, laughing and crying according to what he tells them (Grooneveldt, 1960, 53 in SY, 1981, 14)’ Envoy from the Great King of Java (Majapahit) brought to Albuquerque on capture of Malaka in 1511, a long cloth on which were painted all his wars with horse and elephant borne palanquins with the king surrounded by four flags and his courtège. (SY, 1981, 17, citation via Dutch translation of text of Fernão Lopes de Castanheda, 1552, English translation by Thomas East, 1580.)

European painting commenced interest among high status persons in the archipelago in first decades of 17th century. (SY, 1981, 31) VOC took Malaka in 1641. Topographical depiction began with architects and draughtsmen such as Johann Wolfgang Heydt, Johannes Rach chief of artillery and painter Carl Friedrich Reimer director of fortifications and hydraulic construction but also a draughtsman during 18th

century. (SY, 1981, 32) Art worlds: Javanese court patronage

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The Javans have made no progress in drawing or painting; nor are there any traces to be found of their having, at any former period of their history , attained any proficiency in this art’. (Raffles 1817/1978, p.472, in Kraus 1996, p.29)

They are not, however, ignorant of proportions or perspective, nor are they insensible to the beauty and effect of the productions. Their eye is correct and their hand steady, and if required to sketch any particular object, they produce a very fair resemblance to the original. They are imitative, and though genius in this art may not have appeared among them, there is no reason to believe that, with due encouragement, they would not be found less ingenious than other nations in a similar stage of civilization. (Raffles in Kraus, 1996). They (the Javanese) have a tradition, that the art of painting was once successfully cultivated among them, and a period is even assigned to the loss of it. (Raffles 1817/1978, p.473 in Kraus-1996, 30).

Losses of Raffles: his second and larger collection was burnt in the vessel Fame in 1824. It included:

..a superb collection of drawings in natural history, executed under my immediate eye, and intended, with the other interesting objects of natural history, for the museum of the Honourable Court. They exceeded in number two thousand; and having been taken from life, and with scientific accuracy, were executed in a style far superior to anything I had seen or heard of in Europe. (Forge, 1994, 112, citation from Memoir of the life and Public Services of Sir Thomas Stamford Raffles, by his Widow, London 1830, II, pp.329, 330).

1 Literary references indicate presence of paintings in Java from at least the 1400s. 2 Paintings or tapestries with figuration brought to Indonesian archipelago by Portuguese in 16th century, Dutch brought paintings and many prints, several painters active in Batavia. 3. Surviving forms of Javanese illustration and manuscript decoration in the 18th century 4. Illustrations done for Marsden’s History of Sumatra, 1811 5. The illustrations done for Raffles in 1811-1816 for his History of Java and subsequent variations 6. Work by Adi Warna who illustrated 11 of 34 plates in Crawfurd, History of Indian Archipelago, 1820 Pre-European views of landscape in Java:

One should imagine, therefore, not simply a process by which Indic mythological heroes were “localized” by means of Javanizing settings represented on temple reliefs and in narrative poems, but a two-way act of cultural and political appropriation. Indic myths and heroes were appropriated by Javanese kings by being placed in localized, Javanese natural settings and thus transformed into efficacious ancestors. At the same time, Indic epics and heroes themselves helped kings to appropriate the setting for the epical deeds of royal ancestors implied how living kings could view and act within the real countryside of Java. It is in a kingly, Indic, ancestralized as well as Javanized “landscape” that the court poets represented their own religious quest as having taken placed in kakawin. The ordering of the real Javanese “landscape” was itself a central aim of writing and religious questing. (Day 1994, 195)

I do not think that the visualization of the natural world in early Java involved an investigation of natural forces. Certain natural processes were probably of great interest in

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early Java: the forging of weapons and the dyeing of natural cloth may well have stimulated close observation of the nature of decay and death as well as speculation about immortality. …Although strong arguments can be made for thinking that “nature” versus “culture” is an essential opposition in early Javanese political thought and temple art, I myself think that every representation of “nature” in early Javanese art is already a “landscape” implying the king’s implicit, ordering presence within the natural world. (Day 1994, 198)

Training for artists in 1830s RS did not go to the Haagse Academie van Beeldende Kunsten for which he was not considered by his patrons but studied with Cornelis Kruseman then Schelfhout. In any case, RS arrived too late in 1829 to enter the Winter term from October to the following April, and without having done preparatory course would not have been able to enter until the summer season which began in May. Thus RS did not study the nude until at Dresden and Paris, and then lacked the figure painting formation essential for an academy painter. But his patron Baud knew Kruseman by whom his portrait was painted in 1826, that is two years after Kruseman’s return from Rome. Cornelis Kruseman (1797-1857) was a pupil of the English portraitist Charles Hodges (1764-1837) who lived in Amsterdam, and at the age of fourteen in 1811 entered the Amsterdam drawing academy. He was endowed with less talent than Jan Willem Pieneman, but he had:

a greater desire for refinement and less vigour, displayed a hankering after more pronounced forms and, in the absence of a natural gift for colour, employed hard tones for his biblical and Italian subjects and, in general turned the art of painting into an uncouth classicism. (Marius,18).

Kruseman had been in Italy from 1821-1824 and his works showed ‘the influence of Raphael filtered through that of Overbeck and Nazarene painting’ (Marius 17), which had been in high fashion in Rome when he was there.

though his ideas were formed upon the Italian masters of the Renaissance and upon Raphael in particular, he lacked the feeling and the technical knowledge necessary to emulate the peculiar qualities of those masters’. (Marius 18) Cornelis Kruseman’s phlegmatic ideas were in the taste of the day: any passion would have disturbed the tranquility of a view of life which demanded that everything should be gentle, pious and noble. Marius, p.20)

Kruseman was not as talented as a portraitist as his cousin Jan Adam Kruseman (1804-1862) and Jan Willem Pieneman (1779-1853). From 1816, Pieneman was director of the Royal Collection and from 1820, first President of the Royal Academy of Fine Arts as an official painter of grand battle scenes. His student Josef Israëls said that

he was a genius who grew up in an inartistic age, and it was not his fault if the times in which he lived prevented him from developing himself. In a society in a state of transformation, where, on the one hand, men, proud of their recovered nationality, asked for topical pictures representing the heroic deeds of the day, while on the other hand, a pious tendency held sway and called for religious or kindred subjects strictly confined to the limits of the middle class virtues, there was no opportunity for the exaltation of painting pure and simple and l’Art pour l’art for once became a misplaced maxim. Marius, p.14-15.

His son Nicolaas Pieneman (1809-1860) enjoyed even greater favour but,

…with neither his father’s temperament nor vigour, and , possibly by way of a reaction against the latter’s frequent want of polish, he painted in a soapy and feeble style, especially his royal portraits which are smooth and insipid and devoid of all life.

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Marius, p.16.

Contemporaries judged him differently, one mentioning ‘the brilliant talent of that celebrated painter Nicolaas Pieneman, who has achieved n European reputation with his many famous masterpieces’. (cited Marius 17). Cornelis Kruseman’s elder brother Johannes Diedrik Kruseman (1794-1861) left in 1810 to make his career in the Indies and returned on leave from 1818-1820. He met Raden Saleh on his return to Java. In 1830 went back to the Netherlands and lived in Den Haag until 1841, serving in the Ministry of Colonies from 1833. Another pupil of Cornelis, was his cousin Johan Caspar Muller Kruseman (1805-1855), who also followed courses at the Drawing Academy in Den Haag, and went to Java in 1832. It is not known if he had met Saleh in his cousin’s studio in 1830. Cornelis Kruseman taught Saleh drawing for six months and Saleh had access to Kruseman’s drawings from 1821-1825, including from his two years in Rome. Cornelis Kruseman brought an affection for warm Raphaelesque tones from Italy, and also had his students copy Gerard Dou’s candlelit chiaroscuro scenes even though he himself did not like this manner Andreas Schelfhout (1787-1870) ‘formed himself as a landscape painter upon Meijer’s seascapes’, (Marius, 75). Johann Hendrik Louis Meijer (1809-1866) had moved to Paris in 1841, where he met Raden Saleh, thereafter to Den Haag ‘he used to introduce history-painting into his sea-pieces,but seldom to such an extent as to interfere with his seeking good effects of light’. (Marius-75). Schelfhout was more conservative but produced two talented students Wynand J.J. Nuyen (and son-in-law, 1813-1839) and Bartold Jongkind (1819-1891) ‘who for many years was unable to free himself from his master’s method’ (Marius, p.9), was considered a precursor of Impressionism by Monet. Nuyen is known for his views of the Normandy coast. Precursor discourses foreign Landscape Genealogy: The Romatic (I am very grateful to Thomas Berghuis in this and the art criticism section for translating the selections from two Dutch catalogues below).

Although art theorists in our country also attached it with the necessary importance, the ‘paternalistic (patriotic) feeling’ (vaderlands gevoel) obtained little resonance in paint on canvas. This definitely related with the lack of a dominant academy, as it in firmly organized the art world in France. Neither was there a noticeable state patronage that through official commissions filled that gap. The Dutchman rather put his energy and love in the expression of ‘simplicity and genius (literally: one’s own)’, like in masoning a brick wall with paint or catching the mirroring reflection of a cow in the water, which was also very well saleable. De Leuw in Meesters van de Romantiek, 2005, p.14 Tr TB The two most famous painters of the large family Kruseman, Jan Adam and Cornelis, are rarely considered as romanticists. They are usually classified as part of the classicists, whereby their position in our painting is deficiently characterised. Looking back at the career of his friend Cornelis Kruseman, L.R. Beynen wrote in 1859: ‘He stood positioned between the ancient and the modern, between the classical and the romantic’. In the oil sketches that Kruseman made for his work, Knoef sometimes recognizes the influence of the English portrait-painter Sir Thomas Lawrence. (cit.) The sketches and the study drawings often promise a romanticist who never quite paints up to his promise (literally: ‘never quite comes out of his paint’). If we examine Kruseman’s work both thematically and stylistically in relation to the German band of painters of the Nazarenes or the

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precursors of the English Pre-Raphaelites, this allow better placing of his oeuvre. De Leuw in Meesters van de Romantiek, 2005, p.15 Tr TB

The style of Kruseman rarely defined as among the romanticists, but often as classicism linked to the Nazarenes. Who were often seen as predecessors of the Pre-Raphaelites. Knoef recognized influence of Sir Thomas Lawrence in oil painting studies of Kruseman Of romanticisms:

expect high doses of sentiment, courage, exoticism and especially in the narrativity (vertolking) of individual emotions’. De Leuw in Meesters van de Romantiek, 2005, p.15 Tr. TB. Dutch art between 1800 and 1850 rarely meets the criteria of emotion and spontaneity. What strikes one about the Dutch is a certain predictability based on traditional sketching’. ‘The Dutch painter was soundly trained in a particular genre and that was not a suitable. landscape became instinct with a feeling for nature not a spiritual feeling De Leuw in Meesters van de Romantiek, 2005, p.16, tr TB. Kruseman was a catholic outsider who could express the spirit of religion in a Protestant culture. De Leuw in Meesters van de Romantiek, 2005, p.20, tr TB.

There was a tendency to exemplify the Dutchness gained from the art of painting in which the 17th century masters were the great exemplars. By grabbing back at the Golden Century, naturally offered the opportunity for a renewal of that flowering, but can also be interpreted as a cramped grasping at an old identity generated out of the lack of self-confidence….. After 1830 this vaderlands gevoel– emotional identity with the Fatherland – was expressed in history pieces, nearly all of which were inspired by the renowned North Dutch Protestant past. The Dutch landscape took its part in that identity. Both the 17th century as well as the contemporary art of landscape painting were extremely popular and inserted in the discussion about Holland’s individual character. Reynaerts in Meesters van de Romantiek, 2005, p.35 tr TB

Baud, in a letter of 17 August 1843, writes,

The German School(the Düsseldorf school) produces splendid compositions but their colouring is hard and they do not control their mid-tones (Zwischenlicht). I also dare to say that the German painters are rather poets. The Dutch in contrast are less poetic but can handle colours better and (their paintings) thereby appear more beautiful. ( Kraus 1996, p.44.

Opposite to France and England, Orientalism and Oriental Studies remained in Germany two divided phenomena. The Orient remained before anything else the romantically defined space of a timeless Eden. It was represented as the archetype of the static, be-quietened world, the biedermeierisch (vulgar bourgeois) domestic idyll of the everyday. The few Orientals who at that time strayed into Germany were greeted with a mixture of curiosity and friendliness, and not with the penetrating if also well-intentioned patronising attitude which Raden Saleh must have got to know in Holland. Raden Saleh, the cultured Javanese prince with an inclination towards the arts, representing a closed, secret world which was nonetheless enlightened and moral, appeared in the right role and at the right time on the stage of biedermeierisch sensibility, and used his chance, consciously or unconsciously, with great virtuosity.

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Kraus 1996, p.48-49.

1873 March 4th, in a letter to Ernest II from Buitenzorg RS states, I came to Europe as a true Javanese and I returned to Java as a real German. Kraus-1995, p.388. Ernst II himself in 1865 had characterized Saleh as follows: His disposition was comparable to that of the finest men, honest and loyal, chivalrous and noble in his cast of mind, poetic and childlike oriental in his beliefs, firm and kind in his actions. Kraus 1994, p.388.

Relation with or derivation from Orientalist themes Art Criticism Art criticism in Holland was underdeveloped and,

reduced in the majority of cases to simple summary accounts –anonymous – assorted from commentaries which were often alarmed or (about) ‘safe values’. ‘One dares not imagine how a Théophile Gautier would have reacted to these tedious elegies in their excessive redundancy, to commentaries empty of fantasy and deprived of polemic, and at the accumulation of pictures and exposed by the representatives of a ‘clean, glossy and cold school (of painting). Scalliet 2005, p.212-213. Saleh’s inability to paint tints in hangings which he could not achieve probably due to the absence of a good, solid academic formation and more less constant inability to paint hands Scalliet 2005, pp.225, 227.

Before the 1830s, criticism was innocent, but there was a narrowing of the position of the artists after 1830 when there was an economic recession and also one in art when the artist hardly got any subsidy and the government did not buy from public exhibitions…. During 1830-40 extra initiatives were taken to give the artist a life whereby city councils and artist societies organized exhibitions, and art was raffled off to get rid of over-supply….The position of art critics was to decide whether there was good or bad art and critics were aware that negative critique could damage the position of the artist. Ouwekerk in Op zoek naar de Gouden Eeuw 1986, p.65,Tr TB They indeed realized that their criticisms could be crucial, but often startled from the consequences. In their articles they asked for the first time in so many words on who could accurately be able to distinguish good artworks from bad artworks. Subsequently, they resorted to extensive commentaries on organisation of the exhibitions, the selection committee, the overall impression of that which was exhibited, the state of the art, and on the public taste. (...) Compared to the sometimes devastating comments that were made on the subject (of the behaviour of exhibition visitors), the discussion of individual works were actually really mild. Ouwekerk in Op zoek naar de Gouden Eeuw 1986, p. 70-71,Tr TB In the contemporary criticism there is only sporadic mention of Romanticism (‘de Romantiek’). Only around 1832 the term pops up. The critics were all amateurs d'art, who judged the art according to established, classical criteria. They used the term Romanticism to identify colouristic use of colour and thick impasto brushwork that, under the influence of the French school of painting around 1830, also had followers in our country; including

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through followers such as Wynand Nuyen, Andrew Schelfhout and the early John Bosboom, with in their wake Jean Augustin Daiwaille, Antonie Waldorp and Samuel Verveer. The art critics were not only disliking art that went against the traditional (classical) rules (such as exuberant use of colour), but like most of the Netherlands they also were rather anti-French. Partly because of this, the term (Romanticism) did not become popular. Tempel in Meesters van de Romantiek, 2005, p.77 Tr TB

Contemporary discourses with period of artist’s activity Reasons for RS’ despatch: RS was probably sent to Holland for one of the following reasons: 1 to prove the educability of the Javanese. 2 to serve as a political hostage (Kraus 1996, 41). 3 to become a surveyor and cartographer (Kraus 1996, 41). 4 to travel under the private initiative and patronage of De Linge with whose family RS stayed in Antwerp for six months and would have returned with De Linge had not Baud been willing to present his case to the King. The decision to educate him in the Netherlands was taken in Den Haag/The Hague/La Haye. (Scalliet, 2008) Cornelis Theodoor Elout(1767-1841) Commissioner General of Dutch East Indies, mentions in a letter of 1816 his desire for a landscape painter not a draughtsman (such as A. J. Bik) and indicates a landscapist who he wished could have been persuaded to come, Josephus August Knip (1777-1847) who ‘knew what ‘the splendours of Switzerland and Italy were about’. (Scalliet 1999, 39) The Dutch knew of Raffles’ as yet unpublished researches in Java, and of Alexander von Humboldt’s explorations in The Caribbean, Mexico, and South America which were published in 1807. The Indies’ colonial authorities set up a scientific expedition in West Java for Caspar Georg Carl Reinwardt (1773-1854) in 1819, with the painter Antoine August Payen (1792-1853) and the draughtsmen, Adrianus Johannes(1790-1872) and Theodoor (Jannes Theodorus) Bik (1796-1875)> It travelled in the eastern part of archipelago from 1821-22, and in 1824 went to the Moluccas and Celebes with Van der Capellen. Antoine Payen (1791-1853) was trained as architect in Tournai area by Bruno Renard (1781-1861) and had won an incentive medal at the Brussels salon in 1813. Payen had studied landscape with Henri van Assche (1775-1815) and a landscape of his won a first prize at the Brussels salon, a Moonlit view of Marche-les-Dames, left bank of River Meuse. (Scalliet-1999, 47). Payen was widely read in the landscape theories of Pierre-Henri de Valenciennes (1750-1819), Réflexions et conseils à un élève sur la peinture, et particulièrement surle genre de paysage, 1799-1800., from whom the notion of the ‘landscape portrait’ derived.

The landscape had to be represented correctly, but the composition also had to be well arranged and balanced. This meant that objects like trees or shrubs could be rearranged or added, and the landscape could be “decorated” with human figures. The time was not yet ripe for straight open-air painting. (Scalliet 1999), 48.

This statement should not be taken at face value since Payen left full-oil sketches done in situ which are now in the Ethnology Mseum in Leiden. The Reinwardt Commission was followed by others such as C. L. Blume, who succeeded Reinwardt as director of the park at Buitenzorg (now Bogor), and by the Natuurkundige Commissie voor Nederlandsch Indië (1820-1850) This employed several painters including Pieter van Oort & G.

8 The Asian Modern © John Clark, 2013 van Raalten who were on the Salomon Müller expedition to Irian, and A. van Pers on the Schwaner expedition to Kalimantan. They drew flora, fauna and folklore. (SY 1981, 36-37)) Later, Jan Daniel Beynon (1830-1877), whose family had formerly been in VOC employ and had settled in Batavia since 1751, may have been taught by Hardouin, a local painter of French origin, who did an unsigned portrait of Jan Bik in 1842. Jan Daniel was granted permission to leave Batavia for Holland where he stayed until 1855. Beynon studied at the Amsterdam Academy and at Den Haag with both Cornelis Kruseman, and with Nicoalaas Pieneman who was active in Amsterdam. He exhibited in Amsterdam 1852 and Den Haag in 1853. There are similarities in his work with landscapes of Barend Koekkoek (1803-1862) who wrote Herrineringen en mededeelingen van een landschapschilder in 1841. In Paris by the time RS lived there from 1845, Romanticism had become an accepted trend rather than an anti-establishment practice based on its hostility to the ‘finish’ associated with (neo-) classicism.

The famous ‘colour versus line’ controversy was a result primarily of dividing the stages of artistic procedure into the sketch and the finished work and subsuming them under different categories of art criticisms If a work failed to exhibit a sufficient degree of finish it was dismissed as a sketch, unworthy of public display Boime, 1971, p.9

As a result of the innovating theories of Romanticism and the emergence of the landscape movement in 1830, a new style developed which historians and critics have labelled the juste milieu. ....the artists associated with the juste milieu tendency were deeply involved in the political and cultural life of the court; they were patronized by Louis-Philippe and enjoyed immense popularity with the crowd. They were sophisticated men who recognized the implications of the Classic-Romantic conflict, but who could take neither side whole-heartedly….Delaroche combined Romantic themes with Academic drawing and style, while Vernet and Scheffer wavered between a superficial brush technique and an adherence to classic clarity of form. Boime, 1971, p.10

By 1830 Romanticism had ceased being an outrageous movement, and had evolved into a recognized trend, not only for art students, but for large sections of the public as well. Boime, 1971, p.14

In Paris, RS was visited in 1845 by the young linguist of Malay, Louis Auguste Dozon, and his friend the as yet not well known poet, Charles Baudelaire, where they saw a Hunting of a Tiger painting which would be exposed in the Salon of 1846. Baudelaire turned out to be a vituperative critic of Horace Vernet

The Salon of 1845 This African painting (The Capture of the Smala, 1845, Versailles) is colder than a fine winter’s day. Everything in it is of heart-breaking whiteness and brightness. Unity, none; rather, a crowd of interesting little anecdotes – a vast tavern mural. These kinds of decoration are generally divided up as though into compartments or acts, by a tree, a great ,mountain, a cavern, etc. M. Horace Vernet has followed the same method – that of a serialist – thanks to which the spectator’s memory duly finds its landmarks. Baudelaire tr. Mayne, 1965, p.6 The Salon of 1846

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I hate this man (Horace Vernet) because his pictures have nothing whatever to do with painting (I would prefer to call them a kind of brisk and frequent masturbation in paint, a kind of itching on the French skin). Baudelaire tr. Mayne, 1965, p.94 To define M. Horace Vernet as clearly as possible, he is the absolute antithesis of the artist: he substitutes chic for drawing, cacophony for colour and episodes for unity; he paints Meissonier as big as a house. Baudelaire tr. Mayne, 1965, p.94 Furthermore, in order to fulfil his official mission, M. Horace Vernet is gifted by two outstanding qualities – the one of deficiency, the other of excess: for he lacks passion, and has a memory like an almanac! Baudelaire tr. Mayne, 1965, p.94 M. Horace Vernet himself, that odious representative of the ‘chic’, has at least the merit of not being a doubter. He is a man of happy and playful disposition, who inhabits an artificial country where the actors and the scenery are all made of the same pasteboard: yet he reigns as master in his kingdom of pantomime and parade. Baudelaire tr. Mayne, 1965, p.97

The flavour of conventional criticism may be found in an article which mentions Raden Saleh’s

exhibited work of 1847.

Nous reproduisons aussi dan ce numéro un tableau qui es tune des curiosités de l’exposition, un tableau qui, du temps de Diderot, eût mis en rumeur la société parisienne, rien que sur le nom de son auteur, mais dont on ne parlera aujourd’hui que pour discuter le mérite intrinsèque. Nous ne sommes plus, comme autrefois, de grands enfants, et nous avons perdu le don de l’étonnement naïf. L’auteur de ce tableau est monsieur (je dis monsieur pour me conformer à une habitude de politesse; ce titre gaulois figure mal ici), est un prince javanais ayant le nom RADEN-SALEK-BEN-JAGYA, qui, après s’être amusé dans sa jeunesse à chasser le tigre dans l’île de Java, s’amuse aujourd’hui ã Paris à peindre ses souvenirs. Ce n’est même pas une chasse au tigre, quoiqu’il y en ait un dans son tableau, qu’il s’est proposé de peindre; il laisse se sujet à traiter à ceux qui ne l’ont jamais vu. Il a simplement voulu nous représenter une innocente Chasse au cerf dans l’île de Java. Un rabatteur presque nu, monté sur un buffle, est subitement attaqué par un tigre. Sa figure exprime l’effroi que lui cause cette attaque imprévue en même temps que sa résolution de faire une vigoureuse résistance. Il comprend que c’est un duel à mort entre lui et le redoutable animal, et qu’il n’a aucun secours à attendre de l’individu qui le suit à longue distance, et s’avance majestueusement comme Sancho Pança sur son âne. L’agilité de l’Indien, la terreur du buffle, et son effort suprême sur ses jarrets vigoureux, la souplesse et la colère du tigre attaché à ses flancs, tout cela est parfaitement rendu d’une manière très-saisissante. Peut-être désirerait-on au paysage un aspect plus oriental; cela ressemble un peu à des marécages des environs de Paris. Le ciel bleu est d’une crudité de ton extrême, qui nuit à l’effet général du tableau. L’artiste a étudié la peinture en Hollande, et a été élève de Koëkkoëk. Ce n’était pas là une bien bonne école pour initier à l’art européen un talent né sous l’équateur, dans une île ou la création est luxuriante et primitive. Toutefois il ne s’est pas laissé emprisonner dans les petits détails de l’art hollandais; il manifeste de la vigueur, du mouvement de l’élan, mais il manque d’originalité dans l’exécution.

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From a review of the Salon of 1847 by ‘A.J.D.’ in L’Illustration vol.IX no.217, Samedi 24 Avril, 1847, p.418.

Problem of successors and successor discourses to the work of RS A Javanese political prisoner, Suryono Kesai, who was found in a political prison at end of nineteenth century had been a pupil of Raden Saleh (miscellanous note from WK) Secondary circulation of European art images through illustrated magazines & newspapers Were illustrated magazines from Europe with views of European salons available as means of transmission of academy manners to younger Indonesians interested in art? Wendigen was the Dutch illustrated magazine which may have circulated in Batavia, but unknown from when it was available. No-one is now likely to be able to find out. Scalliet things Batavia was a cultural desert before 1920s, and even the Kunstkringen had no libraries, but it was possible that the Bataviaasch Genootschap van kunsten en Wetenschappen may have received it. Illustrations of Borobodur were on on sale for 50 guilders at 1891 Manufactures’ Exhibition at Magelang. See De Loos Haxmann, Verlaat Rapport… Origin of phrase mooi Ïndie, is unknown, mooi means ‘pretty’ rather than ‘beautiful’. Scalliet meeting notes 4.12.2007. Life history issues Age of RS RS was with Payen at the earliest from the end of 1819 or June 1820 at the latest when Payen was in Bogor. RS gave his age as twenty-seven when he become a Mason in 1836, i.e. RS was born in 1811 and thus eight when he knew Payen. He was possibly presented to the Masonic Lodge by other artists, and the Grand Master was a royal prince, so this patronage might also have been involved. Scalliet meeting notes 4.12.2007.

11 The Asian Modern © John Clark, 2013 Chronology 1811 May, born (1809, inference by Scalliet from declaration on Masonic admittance 1836, Kraus notes birth date by Saleh in his own hand on portrait drawing (by Carl Vogel von Vogelstein in 1839) in Terboyo near Semarang to Sayid Husen bin Alwi bin Awal and Raden Ayu Sarif Husen bin Alwi bin Awal. Both parents were grandchildren of Kyai Ngabehi Kertoboso Boestam (1681-1759) a translator and interpreter for Dutch East India Company to whom he remained loyal during the 1747 Susuhunan and Chinese uprising, his family being rewarded by Dutch thereafter. His foster father and uncle with whom Raden Saleh was brought up was Raden Adipati Suraadimanggala, Regent of Semarang, who was married to a daughter of Prang Wedana, Mangku Negara I of Surakarta. 1811-1816 British rule in Java under Stamford Raffles. Saleh’s cousin may have known drawing via his study at College Fort William (Durromtollah Academy) in Calcutta, sent there during time of Raffles. 1817 April, Raden Saleh’s future teacher Antoine Payen (1792-1853), leaves for Dutch East Indies. 1819 dated sketch of Payen in Sontje (?West Java) by J.Bik. 1820-1822, RS’s first visual training with Antoine Payen in Bogor (then called Buitenzorg) as also with Adrianus Johannes Bik (1790-1872), Jannes Theodoor Bik (1796-1875). These were artists in the Dpartment of Agriculture, Arst and Sciences whose director Reinwardt left in 1822 and under whose instigation was created a Commission for Natural History of the Netherlands Indies. RS was entrusted to Payen until his departure from Java in February 1826 1822-January 1826, Bandung (with long stay in Semarang in 1824 (during Payen’s journey to the Moluccos) and 1825 (during Payen’s journey to Yogyakarta) February 1826-March 1829, Cianjur (see notes) 1820-1829, in Buitenzorg, Bandung, Semarang and may have visited Batavia. 1822 RS moved to Bandung with Payen, 1822-ca 1826 may have received early schooling at Cianjur (but not mentioned under list of pupils, Scalliet-2005, p.161, n.29). 1824 & 1825 Stayed in Semarang. 1825 July, Payen in Yogyakarta when besieged for three months during the Java War 1826 February, Payen left Java and RS gor employment in Cianjur. 1826 July, arrival of Payen back in Europe. Saleh stayed in house of J.B. de Linge, General Director of Finances (Belgian, but may well not have known Payen), before going with him and his family to Holland in 1829. 1827 Javanist Gericke sent by the Dutch Bible Society, passes through Cianjur and is astonished to encounter ‘Raden Saleh, a young man who paints in a remarkable manner’ (Scalliet, 2005, p.64) 1828 Baud, responsible for Colonial Affairs (for his career see Scalliet-2005,p.174-175), writes note from Den Haag for the Governor J. van den Bosch returning to his post in Java to employ

12 The Asian Modern © John Clark, 2013 Saleh, and may have taken up terms of praise used by Payen who had visited Den Haag since his return. 1829 Payen became an instructor of drawing at a Koninklijk Instituut voor de Marine at Medemblik, Provice of North Holland from 1829-1830. 1829 July 20th Saleh arrives in French port of Anvers. 1829 December visits Ghent and Bruxelles which were still the Southern Netherlands where met Payen. After this meeting Buad proposed to the King he be designated a ‘Child of the State’ to stay in The Hague and given an annual stipend of 2000 florins from Dutch Crown according to a decree formulated by Baud of 11th January 1830, always debited to the Ministry of the Colonies. 1830 January 2nd, van den Bosch arrives in Batavia. 1830-1831training with Cornelis Kruseman (1797-1857), copied works by Van Dyck, Rembrandt, Paulus Potter (in Mauritshuis). Also learnt Raphaelesque colouring and chiaroscuro in manner of Dou. 1830 Spring, de Linge returns to Batavia. 1830 March 28th Prince Diponegoro captured by Lieutenant-General de Kock. 1830 August 13th, Louis Philippe becomes King of the French 1830 August 24th, Belgian insurrection against Dutch begins after performance of nationalist opera. 1830 September 26th, Dutch forces unable to re-take Brussels 1830 October 4th, Belgian independence declared. 1831 Saxony joined German Zollverein. 1831 August, Belgians defeated by a Dutch army at Bautersem near Louvain, but the Dutch had to withdraw under threat of French military involvement. Kruseman prepared to make battle picture and went to Paris to consult Antoine Gros and Horace Vernet. Work finished in 1838 but not welcomed and later destroyed in 1950 as not restorable. 1832-1833 RS trained with Andreas Schelfhout (1787-1870). RS learnt framing and gilding in the winter 1832-33. In Schelfhout’s studio met Wijnand Nuyen (1813-1839) future son-in-law of Schelfhout, and Jongkind (1819-1891) 1833 after July, RS moves out of lodgings into own rented apartment. 1833 October, Payen came to Den Haag just as Baud the governor of the Dutch Indies, had been recommending RS, after some further study of Dutch and mathematics, for study of a few months lithography in Amsterdam, then return to Java. 1833 December 13th, by royal decree Johannes Diederik Kruseman, brother of the painter, appointed to post in Ministry of Colonies, and argues case for RS not going back to Java. 1834 January, departure of Payen who may have completed two canvases in Salleh’s studio. 1834 September 8th, RS has work exhibited at salon in Amsterdam (begun in 1808 by Louis Napoléon, alternating in principle between Den Haag and Amsterdam), mentioned in Journal de la Haye, Wednesday 24th September 1834; ‘no.377, a portrait of a man by Radeen (sic) Saleh of Java, found presently at La Haye/Den Haag. It is perhaps the first time that one sees in this country, and probably in Europe, a painting by an inhabitant of this island…’ (see Scalliet-2005, p.208) 1834-1839 RS living independently wibut wit a government stipend as painter in Den Haag, receives government contract to paint posthumous portrait of Governor-General Daendel of Indies, and also painted gratis as token of gratitude portraits of Governors General Baud and Van den Bosch. participates in Hague art exhibition, said to have students.

13 The Asian Modern © John Clark, 2013 1835 exhibits a Man reading by lamplight and Portrait of a Man at Den Hague exhibition of masterworks by living artists, called ‘Radin Saleh from Java’ in catalogue. 1836 November 15th, after admission to Masonic Lodge Endracht Maakt Macht (Union makes Force), Saleh gives age as 27 years, indicating possible birth year of 1809. 1837 September 25th, exhibits Head of an Old Woman in Salon at Den Haag. 1838 Saleh does group portrait of Ashanti princes Kwasi Boachi, Kwame Poku and Major Verveer which is sent to the King of the Ashanti, later lost. 1839 this year, The Netherlands recognizes the independence of Belgium. 1839 autumn, A hermit after Dou shown at Salon in Den Haag. 1839 May 18th, RS goes from Den Haag to Düsseldorf where contact person was Freidrich Willhelm von Schadow-Godenhaus (1789-1862), Director of the Academy. 1839 May 23rd, goes from Düsseldorf to Frankfurt to see collection of Johann Friedrich Städel. 1839 June 16th, goes from Frankfurt to Berlin, met Dutch ambassador Count Hendrik Georg de Perponcher Sedlnitzky (until 1842, dies in Dresden in 1856), introduced to art world, worked in Museum in morning and own room in afternoons and evening. 1839 takes part in art exhibition in Berlin (Kunstblatt, 14th October). 1839 September 1st, goes from Berlin to Dresden. 1839 October 14th, activities reported in Schornschen Kunstblatt, (Kraus-1996, p.46) 1839, October 20th, portrait drawn by Carl Vogel von Vogelstaein 1840 Letters in this and subsequent years to Baud in Malay. Mentions girlfriend in Den Haag who had come to see him in Dresden in 1839, and he will send back because ‘I feel it is no good to come to a foreign place, meet honourable and aristocratic men and lie with a woman that reminds me of former sins. I might loose my honour. Therefor I’ll send this woman after a short while back to Holland’. (Kraus-1994, p.386, note 19) Knew Dutch artists resident in Dresden, Albrecht Schreuel (1773-1853) – whose portrait of Saleh in the 1840 Art Exhibition in Dresden was shown at same time as Saleh’s Storm at Sea and a Lion hunt- and Daniel van Oosterhout (1786 to 1850). RS experiences demand for his paintings on the subject of Lionhunt and Fight between Bedouins and Arabs. Reports in newspapers of works. Paintings bought by Coburg court to which Saleh introduced by the Russian Ambassador where he met Duke Ernst II of Coburg who was there for military training. Knew Danish painter Johan Christian Dahl (1788-1857) who influenced him towards realism. Saleh became known for Hunting, Animal, and Fight Scenes and for Sea Paintings. His paintings were in 1843 characterised by a local reviewer as ‘breathing Life, Tropical Glow and Truth’. 1840-1848 Jean Chretien Baud (1789-1859) was Minister for Waterways, National Industry and Colonies 1841 RS takes part in exhibition in Dresden. 1841 Louis Gallait completes The abdication of Charles V. It was to tour Germany from July 1842 to April 1844 with another painting, Edouard de Biéve, Compormise of the Netherlands Nobility. (Kraus-2005, p.290) 1842 takes part in exhibition in Dresden with patronage of Tiedge Foundation. 1843 February 13, RS letter to Baud mentions friendship with family of Major Friedrich Serres both in Dresden and at their property in Maxen, and being ‘treated like their own son, especially

14 The Asian Modern © John Clark, 2013 when I am unwell’. The Serres family was a major meeting point of the cultured elite in Saxony, and included Hans Christian Andersen, Robert and Clara Schumann, and Bertel Thorwaldsen (whose portrait by Saleh is lost) among their visitors. 1843 August 17th, RS mentions in letter to Baud going to court dressed in Javanese clothes, apparently from Maxen via Dresden, in Malay. 1843 February, Gallait and de Biéve paintings exhibited in Dresden. 1843 Sternau in his Kaleidoscop von Dresden records ‘A man of the highest interest is the Javanese Prince Saleh, who rails against (sich aufhält) his being a hostage in Germany of the King of Holland’. (Kraus-1996,p.41) 1844 February, left Maxen, on orders of Dutch authorities to go to Paris. 1844 March 26 reaches Coburg from Dresden as guest of Duke Ernst II of Sachsen-Coburg and Gotha (1818-1893) (cousin and brother-in-law of Queen Victoria , nephew of Leopold I of Belgium, son-in-law of Grand-Duke of Baden). 1844 April 4-8, met Prince Albert, consort of Queen Victoria. 1844 December 6th goes via Den Haag (where received by King Willem II and awarded Order of the Oaken Crown), 1845 beginning this year RS left Den Haag for Brussels, Tournai where met former teacher, Payen, (Kraus-1996, Guillot & Labrousse 1997, p.134), also met Jan Bik in Paris on his return from Java. 1845 January 12th, arrives in Paris. Tries to establish himself, and would be based there off and on until 1851. 1845 rented a studio at 3 Rue de Tivoli, This year visited by young linguist of Malay, Louis Auguste Dozon, and his friend the as yet not well known poet, Charles Baudelaire, where they saw a Hunting of a Tiger painting which would be exposed in the Salon of 1846. 1845 March 15 Salon opens 1845 March, Horace Vernet departs for a 3-month study tour in North Africa after exposing his La Prise de Samalah d’Abdel el-Kader (21m x 5m) at the spring Salon. 1845 April or early May, Saleh received at court of Louis-Philippe. (Guillot & Labrousse, 1997, p.137) 1845 August to September, second stay in Coburg on the occasion of the visit of Queen Victoria. Lady Charlotte Canning, wife of the later first Viceroy of India was taken aback at his presence, ‘In the Gd. Duke of Baden’s room I saw one of the works of Java Prince Ali who lives at Coburgh like a tame monkey about the house. Ld Aberdeen was so taken aback the first day to see this black in his Turkish dress instead of handing us coffee, quietly take some to drink himself’. ‘When others are not in uniform he sheds his turban & gold & silver & becomes a regular German Dandy with most Prussian manners He has studied painting with great care & his picture of the Duke and Dss of Coburg with their real black servant & heaps of dead game is a good imitation of Landseer’. (Surtees, 1976, p.158 discussed Kraus-1996 p.59-60) 1845 September, visits Count von Leiningen in Amorbach and Grand Duke of Baden in Karlsruhe. 1845 October, returns to Paris. 1845 November, visits studio of Horace Vernet (1789-1863). 1845 December. RS found studio at no.31 Allée des Veuves (later called Avenue Montaigne) to be rented by Dutch government for three years. 1846 May 16 RS exhibits in Salon in Paris, Chasse au Tigre, bought by Louis-Philippe. The Salon was reviewed by Baudelaire in a booklet of 13 May in which he castigated Horace Vernet (‘The Salon of 1846, XI’ tr Mayne 93-96). This year RS was able finally to enter studio of Vernet at Versailles (where Vernet’s Battle of Issy was to end up after the Salon) who had returned from his

15 The Asian Modern © John Clark, 2013 African tour. Also visited ateliers of H. Scheffer, L. Meyer (Dutch, 1809-1866), a famous painter of sea pictures (whose works some of RS’ surviving seascapes resembles) , and a completely unknown artist Ramaix (Guillot & Labrousse, 1997, p.150) Horace Vernet shown to have been in France this year so Saleh could not have gone with him to Algeria as earlier speculations suggested (Guillot & Labrousse,1997, p.144) Vernet visited Den Haag in the summer, where he may have met or communicated with Baud (Scalliet-2005, p.255) 1847 March? takes part in Salon in Paris, Chasse au cerf dans l’île de Java, 239 x 346 cms, bought by Louis-Philippe, thought to have been seen in the studio before exhibition by Horace Vernet, Paul Delaroche, Claudius Jacquand and other painters. Noticed in review by Théophile Gautier (see Guillot & Labrousse, 1997, p. 138-139), image printed in L’Illustration. 1847 June 19th, indicates in a letter that involved with new composition on theme of a forest fire and frightened animals which he hope to take to Willem II the following year. (Scalliet-2007, p.212) 1847 July, visits London where he drew a tiger (dated drawing, RMA seen by JC). Visits Osborne House, Isle of Wight, and Scotland. 1847 September, return to Paris 1847 Christmas to New Year 1848, returns from Paris to visit Dresden because of severe illness of Friedrich Serre. 1848 January 3rd Saleh mentioned in journal of Carl Gustav Carus (1789-1869), in the company of the Ashanti Prince Boachi who had studied mining in Freiburg, at a concert of Mendelssohn’s Walpurgisnacht . Saleh was to report anti-Dutch expressions by Boachi as later noted by Baud on 13th February (Scalliet-2005, p.154 n.8) 1848 January 3rd, Saleh mentions in a letter to Ernst II ‘the visible proof of his gratefulness’, certainly indicating a painting as a farewell gift. 1848 February, arrives back in Paris but too ill to observe February Revolution 1848 February 24th Louis-Philippe abdicates as King of the French and flees to England. Replaced by Napoleon III, first as President of the 2nd Republic and from 1852 as Emperor of Third Empire, until defeat by Prussia in 1870. 1848 March revolution in Prussia, March 5th German National Assembly meets in Frankfurt. 1848 April universal equal & secret suffrage declared in Prussia, rescinded in May 1849. 1848 March 15th, takes part in Salon in Paris, Buffle d’Afrique attaqué par des lions, 181 x 293cms.( burnt in Paris in 1931 in Dutch pavilion at Colonial Exposition, Scalliet-2007, p.217) 1848 early summer, journeys to Den Haag to arrange matters for upcoming return journey to Java, after a visit to which his intention was to return to Europe. 1848 July, went to Dresden for farewell visit. Around now, erection at Maxen of a kiosk called ‘Blaue Moschee’ or ‘Blaues Häusel’ a ‘garden house in Oriental style’ with Serres’ family motto ‘(For) the Glory of God and Love of Men’ over the door, also written in Old Javanese by Saleh. (Restored 1970, cupbola added 1997).. 1848 October 19th, dated portrait by Siegwald Dahl, also signed Raden Saleh, Dresden February 13th 1849. 1848 November 13th, new constitution introduced in Holland creating a constitutional monarchy based on parliamentary rule. 1848-49 Paris, and longer stay in Dresden and Maxen. Probably painted Lying in Wait (Version A) intended as a gift for Ernst II. 1849 January, Saleh finished dictation of Autobiographical Memoirs with help of his patroness Friederike Serre in Maxen, 300 pages, richly illustrated (lost for the first time after the sale of the seigneurial property in 1881, and after careful reconstitution by the local scholar Trebbin in the

16 The Asian Modern © John Clark, 2013 1930s and 1940s, but before it could be printed lost for the second time in the wartime chaos of Maxen in 1945.) Memoirs record, via citations from Trebbin’s notes, ‘How lucky I felt in this lovable Germany family circle. How much decency and (good) manners and also what informality in their dealings and what cheerful comfortable life I found among them!…With what gracefulness and also with what elegance did they know how to encounter the great world! There I learnt to know the distinction between the high European civilizedness (Bildung) and the ancient simple customs of my Fatherland’. (Kraus-2004) Another saved extract reads: ‘Two sides, opposite to each other and yet both light and friendly, put their magic spell over my soul. There the paradise of my childhood in the bright sunshine, washed by the Indian Ocean, where my beloved one lives and where the ashes of my ancestors rest. Here Europe’s luckiest countries, where the arts, sciences and educational values shine like diamond jewelry, to where the yearning of my youth finally brought me; where I was lucky enough to find friends within the noblest circles, friends who replaced father, mother, brothers and sisters. Between these two worlds my heart is split. And I feel urged to offer both sides my loving thanks. I believe that I can do that best by portraying my for my friends in Europe, the simple, innocent life and happiness of my people at home, and by outlining for my countrymen a picture of the wonders of Europe and the nobility of the human spirit’. (Kraus- 1996, p.24). 1849 Ernst II may have visited Dresden and awarded Raden Saleh the Silver Service Cross of the Household Order of Duke Ernest of Saxony, gift recorded in official letter of April 1st. 1849 February 13th, date painting by Dahl in Dresden signed by Raden Saleh. 1849 late February, RS left Dresden by this time. 1849 March 28th German Constitution passed in Frankfurt, but not recognized by Austria, Prussia, Bavaria, Hannover and Saxony. 1849 April 2nd, German National Assembly offers the German crown under a constitutional monarchy to Friedrich Willhelm IV of Prussia, who declines. 1849 April 3rd, Ernst II as commander in chef of German forces in border war with Denmark accepts the surrender of Danish forces. 1849 May 3rd to May 9th Uprising in Dresden involves Court Conductor Richard Wagner, Architect Gottfried Semper declares support. Uprising easily defeated and those leaders not arrested go into exile. 1849 July 15th, Exhibition of Living Masters in Dresden, RS exhibits Javanese landscape, where Tigers observe a group of travellers (or Lying in Wait (Version A) Kraus-2008, 112 x 156cms), and A Javanese buffalo handler attacked by a Tiger (Scalliet, 2007 p.213, from the 1849 catalogue) 1849 in Luzern for a period. 1850 chronicler of Batavia (A.W.P. Weitzel, Batavia in 1858: schetsen en beelden uit de hoofdstad van Neêrlandsch Indië, Gorinchem: J) writes, ‘Those who completely live for and through art are not to be found here’ (cited Kraus-1996, p. 34) 1850 Paris. 1850 February 25th, Therese von Lützow writes from Batavia to her friend Captain Zöllner about their common friend Raden Saleh in Dresden: ‘Raden Saleh has left behind no good memories here. The Governor has taken umbrage that he has called himself “Prince” on his European visiting card. For the rest people let him have his talent and ability. All Malays who make themselves European (sich europäisieren) are unsuitable for Java and their free-spirited ideas will be held at arm’s length. Accordingly Raden Saleh will also be lost without trace from the Empire because the thinking man is the subject of fear for the Dutch, who demand obedience.’ (Kraus-2004) 1851 March 17th, given title of ‘Royal Painter’ in Den Haag. 1851 October, return journey to Java.

17 The Asian Modern © John Clark, 2013 1852 Ferbruary 15th, arrival in Java, short stay at Buitenzorg, then further journey to relatives in Majalengka, Semarang, Magelang. 1852 March 18th, Therese von Lützow writes from Batavia to her friend Captain Zöllner in reply to his letter brought by Saleh, ‘Raden Saleh is established in Buitenzorg. The Governor has treated him as a human being in his house; for men of this type, those torn away from their families and who have adopted European habits, they are so unfortunate when they go back into their country and its primitive conditions. The family regards them with mistrust, and European society makes them so much smaller than themselves, than our white regard which alone is worth something, and brown or black here always remain brown or black. In Europe where Saleh was a curiosity he must have more properly thought of his importance. In the Indies he will be as dejected as our African Prince, who studied in Freiburg and now curses his fate in Borneo, that he will be torn away from his family.’ (Kraus-2004) RS was never deprived of his identity but the African Prince was sent to Java against his will. 1853 return journey to Batavia, appointed as Regional Conservator, effectively Keeper of the Colonial Government’s painting collection. 1853-55 stay in Salatiga / Central Java. Mentioned in reports by a German military officer in Dutch service. May have met Constancia Winckelhaagen 1855 return to Batavia to restore portraits of Governors General. (De Loos-Haxman, 1941, p.141-143, also Bachtiar-1976, p.62-64) 1855 February 3rd, Javasche Courant reports death of Prince Diponegoro on 8th January in Makasar. RS refused permission to go and do battle sketches of Java war sites. 1856 early, finished restoration contract, went on doing portraits in his own right whislt still receiving stipend. Beginning of relationship with his ‘first wife’ the widow, Constancia Winckelhaagen (of German origin née von Mansfeldt in Semarang, five children with Nicolaas Winckelhaagen (1802-1850)). They had no children, Kraus-2004, suggests Saleh may have been infertile because of possible syphilis contracted in Holland or Dresden. RS Started sketches for The arrest of Pangeran Diponegoro 1857 completion of master work The arrest of Pangeran Diponegoro (Jakarta, Istana Presiden) painted for the King of the Netherlands (Bachtiar-1976, p.45, citing letter from RS to Ernst II of March 12th, 1857). Together with Flood in Java this work was presented to King Willem III (Kraus-2005, Archipel, p.287) 1859 start of construction of his large mansion in Cikini/Batavia with funds from Constancia who had businesses. Stll unfinished in 1862. Mansion photographed in ca. 1863 by Woodbury & Page, and described by American visitor Albert S. Bickmore. 1861/2 supposed distancing and severing of relations with Constancia Winckelhaagen whose businesses suffered because of racial hostility to their relationship. (There is no direct evidence for the realtionsship) 1862 Sale exhibits . 1863, March 3rd, patron and friend in Dresden, Major Serre dies.

18 The Asian Modern © John Clark, 2013 1864 d’Almeida’s Life in Java appears in London with first-hand description of meeting with Saleh. Mentions Saleh’s fluency in French and ability in German and English, latter not as good as German; commission of late Prince Consort, Albert to paint two subjects; studio was a short distance from the house and ‘filled with models, busts, frameless and unfinished pictures, together with ter appurtenances connected with the fine arts’. Two nearly finished paintings, both of which are described in detail: ‘a landscape taken in the province of Kadoe, including the view of Murbaboo and Marapi’ and ‘The other, called the Inundation, represented a touching scene in the melancholy catastrophe in Banjoemas’. ‘I asked him whether there were any other Javanese artists who had obtained proficiency in the art, and he replied, not that he was aware of, adding humorously:- “Café et sucre, sucre et café, sont tout-ce qu’on parle ici. C’est vraiement un air triste pour un artiste”. 1865 journey to Central Java on an Official Collection Tour of art objects and manuscripts for the Academy in Batavia. 38 manuscripts sent to Board of Batavian Society of Arts and Sciences . Sent a privately acquired manuscript to Ernst II now in Gotha. Carried out palaeological excavations (which he had learnt from academics in Serre’s circle, also see Bachtiar-1976 69-72), climbed and painted the active volcano Mt Merapi (may have seen Dahl’s painting of Vesuvius with the Bay of Naples in the background when in Dresden); engagement to Raden Ayu Danoediredjo, cousin of Sultan of Yogyakarta, Hamengkubuwana VI (1821-1877), reported to own 8 paintings by RS (Bachtiar, 1976, p.46). 1866 Austro-Prussian War results in temporary abandonment of Zollverein. 1867 April, leaves Batavia for 2nd stay in Yogyakarta, marries Raden Ayu Danudireja, stays in Yoagyakarta untill end 1868, and then settles in Bogor with his wife. does some court portraits including those of Sultan Hamengkubuwana VI and his family. Mid-1860s From about now, Saleh may have known photographer Kasian Cephas in Yogyakarta. The later painter Abdullah Subrioto, and subsequent father of Basuki Abdullah, was the adopted son of a Doctor, who had been a good friend of Cephas. (From Matt Cox) 1868. 1869 Raden Saleh arrested for suspected participation in a farmer’s revolt against the colonial authorities. Innocence quickly proved but this experience burdened him until the end of his life resulting in a deterioration of his art, as he wrote to Ernst II from Naples on 2 June 1877. (Kraus-1996, p.37 note 8; RS described events himself in Tijdschrift voor Nederlandsch Indie II, 1873, p.305-313, described in detail in Bachtiar-1976, p. 47-53) 1870 burning of Tuileries in Paris during the Commune destroys works by Saleh. 1871 January German Empire proclaimed at Versailles after Franco-Prussian war. 1871 from this year, Raden Saleh planned an ultimate return journey to Europe, making contact with Ernst II, Duke of Sachsen-Coburg and Gotha and sent paintings to the Kings of Germany and Austria. 1872 1873 May 22nd, RS asked by Board of Batavian Society of Arts and Sciences for advice about taking a student, the Sundanese, Radhen Koseoma di Brata. RS may have taught him for a year

19 The Asian Modern © John Clark, 2013 before RS went to Europe, Radhen Koseoma di Brata being appointed on 9th November 1878 to teach drawing at school for native teachers in Bandung. RS may also have taught Raden Mangkoe Mihardjo who took part in the Amsterdam exposition in 1883. (SY, 1981, 53) 1874 1875 Raden Saleh departed from Java with his wife and their niece Sarinah. 1875 July 10th, arrived in Marseille and traveled on to Den Haag. 1875 October, arrival in Coburg. May have done Lying in Wait (Version B) from his own Lying in Wait (Version A) whilst at Coburg. 1876 November 15th , Raden Saleh departed Rosenau (summer place of Ernst II) near Coburg with wife and Sarinah and all journeyed to Florence 1877 July, in Naples 1877 October, before now visited Florence, Rome, Naples, and Capri. 1878 October, from this month Raden Saleh stayed in Paris with his wife who was ill and needed an operation. 1878 December 29th, left from Paris for Marseilles, from where by a mailboat to Singapore. 1879 February, arrival in Batavia. Wife died shortly later. 1880 April 23rd, Raden Saleh died in Buitenzorg, buried at Kampung Empang outside the town. Grave plaque inscribed to read, in translation by Bachtiar-1976, p.138: ‘Raden Saleh, Painter of His Royal Highness the King of Holland, Knight of the Order of Oaken Crown, Commander with Star of Franz Josef Order, Knight of the Crown Order of Prussia, Knight of the White Falcon. Deceased in Bogor, April 23, 1880.’ 1883 Ernst II sends four paintings by Raden Saleh to International Colonial Exhibition in Amsterdam, May 1st to late October. (This exhibition also showed works by Beynon).

(The above is mostly after Kraus-2004; Scalliet-2005; Scalliet-conversation 2007; Scalliet-2008, personal communication of 9th July 2008; Craig-1978, 1981; Wikipedia for standard German political dates, accessed May 2008).

20 The Asian Modern © John Clark, 2013 Raden Saleh Bibliography Raden Saleh, life and works: ‘A.J.D.’, ‘Salon de 1847’, L’Illustration, vol. IX, no.217, Samedi 24 Avril, 1847, p.418. D’ Almeida, William Barrington, Life in Java with sketches of the Javanese, London: Hurst & Blackett,

1864, (vol. II, pp.287-292 describes meeting Saleh). Bachtiar, Harsja, W., ‘Raden Saleh: Aristocrat, Painter and Scientist’, Majalah Ilmu-Ilmu Sastra

Indonesia / Indonesian Journal of Cultural Studies, Jilid IV, no.3, Augustus 1976, p.31-79. Bustaman, Soekondo, Raden Saleh pangeran di antara para pelukis romantik: suatu tinjauan hid up dan

karya seorang pelukis romantic / Raden Saleh prince of romantic painters: an introduction to the study of the life and work of a Romantic painters, Bandung: Abardin, 1990.

Carey, P.B.R., ‘Raden Saleh, Dipanagara and the painting of the capture of Dipanagara in Magelang’, Journal of the Malaysian Branch of the Royal Asiatic Society, 55, no.1, 1982.

Carey, P.B.R., Asal usul perang Java: pembertakan Depoy dan lukisan Raden Saleh (ed. Rhamat Widaya, pengatar, Ong Hok Ham), LKIS, Yogyakarta, 2004

De Graaf, H.J., ‘De leuwen van Raden Saleh’, Stichting Culturgeschiednis van de Nederlandse Overzee (CNO) Verslagen en aanwinsten 1978-1979, Amsterdam, Stichting CNO, 1980

Glerum, Jan Pieter, ‘Raden Saleh: Javaanse romanticus geliefder dan ooit’, Moesson: Indisch tijdschrift 47, no.12, Juin 2003.

Guillot, Claude & Labrousse, Pierre, ‘Destins croisés entre l’Insulinde et la France’, Archipel, 54, 1997

Guillot, Claude & Labrousse, Pierre, ‘Raden Saleh, un artiste-prince à Paris’, Archipel, 54, 1997 (includes a list of works painted or remaining in France, p.152)

Jajak, K.D. ed., Biografi Pelukis Indonesia dari raden Saleh sampai Dede Eri Supriah, Progress, Jakarta, 2004.

Kévonian, Kéram, ‘Raden Saleh, peintre de Mariam Haroutunian’, Archipel, no.62, 2001. Kraus, Werner, ‘Considering the paintings Lying in Wait (Version A) and Lying in Wait (Version B)

by Raden Saleh’, unpublished paper, 2008 Kraus, Werner, Catalogue Raisonée of Drawings and Paintings by Raden Salleh, unpublished drafts, 2007. Kraus, Werner, ‘Raden Saleh’s interpretation of The arrest of Diponegoro: an example of Indonesian

“proto-nationalist” Modernism’, in Archipel no. 69, 2005, and in Clark, John, Maurizio Pelleggi and T.K. Sabapathy, eds, Eye of the Beholder, Sydney, Wild Peony, 2006.

Kraus, Werner, Raden Saleh: Ein Malerleben zwischen zwei Welten, Maxen, Niggermann & Simon, 2004

Kraus, Werner, ‘Der javanische Maler Raden Saleh in Maxen’, unpublished draft, n.d. Kraus, Werner, ‘Raden Saleh (1811-1880). Ein Indonesischer maler in Deutschland’,

Orientierungen, 1, 1996, 29-62. Kraus, Werner, ‘Raden Saleh (1811-1880), A Javanese painter in Germany’, ‘Temporary list of

paintings by Raden Saleh’ (May 1995) in Sternagel & Buchari 1996 below. Kraus, Werner, ‘Raden Saleh: One Javanese – Two Personalities; an exemplary case of the

disastrous effects of Dutch language policy in 19th century Java’, Ethnologica Bernesia, 4-1994.

Labrousse, Pierre, ‘L’entrée des artistes’, Archipel, no. 71, 2006. Loos-Haaxman, J. de, ed, ‘Raden Saleh in Den Haag’, Vereniging Die Haghe, eds., Jaarboek, 1965,

1965 Marasutan, Baharudin, Raden Saleh 1807-1880: perintis seni lukis di Indonesia / the precursor of painting

in Indonesia, Jakarta, Dewan Kesenian, 1973 Pulle, P.G., ‘Raden Saleh de eerste Javaanse vrijmetselaar’, Thoth: tijdschrift voor vrijmetselaren, 39,

no.1, 1988. Scalliet, Marie-Odette (Scalliet-2008b), ‘Le retour du fils prodige: Raden Saleh à Java (1851-58)’,

Archipel, no. 76, 2008 (includes list of his works from 1851-58)

21 The Asian Modern © John Clark, 2013 Scalliet, Marie-Odette (Scalliet 2008), unpublished corrections and notes to ‘Raden Saleh: notes

and chronology’, private communication to John Clark, July 2008. Scalliet, Marie-Odette (Scalliet conversation 2007) unpublished conversation notes of John Clark,

December 2007. Scalliet, Marie-Odette, ‘Chronique de l’année des tigres: Raden Saleh entre Paris et Dresde’,

Archipel, no.74, 2007. Scalliet, Marie-Odette, (Scalliet 2005) ‘Raden Saleh et les Hollandais: artiste protégé ou otage

politique’, in Archipel, 69, 2005 (includes list of paintings done in Holland 1831-1839) Soedjojono, S., ‘Djaman Rden Saleh dibandingkan dengan djaman peoloekis-peloekis angakatan

modea’, and ‘Taman Raden Saleh’ in his Seni Loekis, Kesenian, dan Seniman, Jogjakarta: Penerbit ‘Indonesia Sekarang’, 1946.

Soekanto, Dua Raden Saleh, Dua Nasionalis dalam abad ke.19, Suatu halam dar sedjarah Nasional Indonesia, Djakarta, N.V. Poesaka Aseli, 1951

Sternagel, Peter; Buchari, Mahmud, editors, Raden Saleh Bulletin no. 1, Bandung-Berlin, 1996. Supangkat, Jim, ‘Raden Saleh and Romanticism’ in Sternagel & Buchari, 1996. Susanto, Mikke, et al, Pameran Seni Visual: 200 Tahun Raden Saleh, Yogyakarta: Jogja Gallery, 2007. Weitzel, A.W.P., Batavia in 1858: schetsen en beelden uit de hoofdstad van Neêrlandsch Indië, Gorinchem:

J. Noorduijn & Zoon, 1860 (Scalliet 2008) Wiyanta, I Ketut, Lukisan lukisan Raden Saleh expresi antikolonial, Jakarta: Galeri Nasional

Indoensia, 2007. Painting and other arts in Indonesia in the 19th century: Archer, Mildred & Bastin, John, The Raffles drawings in the India Office Library, London, Kuala

Lumpur, Oxford University Press, 1978 Barley, Nigel, ed., The Golden Sword: Stamford Raffles and the East, London, British Museum Press,

1999. Bastin John; Brommer, Bea, Nineteenth century prints and illustrated books of Indonesia, Utrecht &

Antwerpen, Het Spectrum, 1979 (annotated bibliography of prints at Tropenmuseum, Amsterdam).

Brommer, Bea, samengesteld, Reizend door Ost Indië, prenten en verhalten uit de 19e eeuw, Utrecht/Antwerpen, Het Spectrum, 1979

Carey, Peter, A. Payen. Voyage à Djocja Karta en 1825, Paris, Cahier d’ Archipel, 1988. Day, Tony, ‘ “Landscape” in Early Java’, in Gerstle, Andrew, and Milner, Anthony, eds.,

Recovering the Orient: artists, scholars, appropriations, Chur, Harwood Academic Publishers,1994 Forge,Anthony, ‘Raffles and Daniell: making the image fit’, in Gerstle Andrew, and Milner,

Anthony, eds., Recovering the Orient: artists, scholars,appropriations, Chur, Harwood Academic Publishers,1994

Gallop, Annabel Teh, Early views of Indonesia : drawings from the British Library, Honolulu : University of Hawaii Press, 1995

Hadiwardoyo, Sanento Yuliman, Genèse de la Peinture Indonésienne Contemporaine: Le rôle de S. Sudjojono, Doctorat de 3e cycle, Paris: École des Hautes Études en Sciences Sociales, 1981.( called SY above)

Haaks, Leo & Maris, Guus, Lexicon of foreign artists who visualized Indonesia (1600-1950), surveying painters, watercolourists, draughtsmen, sculptors, illustrators, graphic and industrial artists, Utrecht, Gert Jan Bestereurtje, 1995

Loos-Haaxman, J. de, Verlaat rapport Indië: drie eeuwen Westereste schilders, tekenaars, grafici, zilversmeden en kunstnijveren in Nederlands-Indië, ‘s-Gravenhage, Mouton, 1968.

Loos-Haaxman, J. de, De Landsverzameling schilderijen in Batavia: Landvoogdsportreten en Comapgnieschilders, Leiden, A.W. Sijthoff’s Uitgevers, 1941

Nieuwenhuys, Bob; Jacquet, Frits, Java’sonuitputtelijke Natuur, Reisverhalten, tekeningenen, fotografieën van Franz Wilhelm Junghuhn (1809-1864), Aphen den Rijjn, A.W. Sithoff, 1980.

22 The Asian Modern © John Clark, 2013 Nieuwenhuys, Bob, tempo doeloe-een verzonken wereld: Fotografische documenten uit het oude Indië 1870-

1920, 3 vols, Amsterdam, Querido, 1998. Raffles, Thomas Stamford, The History of Java, vols I & II, London 1817/1830, reprint Kuala

Lumpur, Oxford University Press, 1978. Scalliet, Marie-Odette, Antoine Payen, peintre des Indes orientales: vie et écrits d’un artiste due XIXe

siècle(1792-1853), Leiden, Research School CNWS, 1995. Scalliet, Marie-Odette, ‘Beelden van Ost-Indië: die collectie Bik in het Rijksprentenkabinet’,

Bulletin van het Rijksmuseum, 49, 2001. Theuns-de Boer, Gerda; Asser, Saskia, Isidore van Kinsbergen (1821-1905) Fotopionier en theatremaker

in Nederlands-Indië, Zaibommel, Uitwerij Aprilis & Leiden, KITLV Press, 2005. Van Brakel, Koos; Scalliet, Marie-Odette; van Duuren, David; ten Kate, Jeannette, Indië omlisjt:

vier eeuwen schilderkunst in Nederlands-Indië, Amsterdam, Tropen museum, 1999. (English version: Pictures from the Tropics: paintings by western artists during the Dutch colonial period in Indonesia)

Van de Wall, V.I., Indische landhuizen en hun geschiednis, Batavia, 1932. Van Ryck, H.W.B., Die beginfase en europese periode van de javaanse schilder Raden Saleh Syarif Bustaman,

Master’s thesis, Rijksuniversiteit Leiden, 1986. Zandvliet, Kees, ed., The Dutch encounter with Asia, 1600-1950, Amsterdam, Rijksmuseum &

Zwolle, Waanders Publishers, 2002 Painting in the Netherlands 1800-1880s De Leeuw, Ronald; Reynaerts, Jenny; Tempel, Benno, eds., Meesters van de Romantiek: Nederlandse

kunstenaars 1800-1850, Rotterdam, Kunsthal, 2005. Hogenboom, Annemieke, De stand der kunstenaars: de positie van kunstschilders in Nederland in de eerste

helt de negentiende eeuw, Leiden, Primavera, 1991 (good bibliography). Immerzeel, J. jr., De levens en werken der Hollandsche en Vlaamsche kunstshilders, beeldhouwers, graveurs en

bouwmeisters: van begin der viftiende eeuw not heden, Amsterdam, Van Kesteren, 1843. Koot, Roman, samenstelling; Dumas, Charles; de Bodt, Saskia, Bibliographie van Nederlands

onderzoek naar beeldende kunst en Kunstnijverheid, 1700-1990, Utrecht, Vereniging van Nederlandse Kunsthistorici, 2001.

Laanstra, Willem, Andreas Schelfhout 1787-1870, Amsterdam, Rokin Art Press, 1995 Leeman, Fred; Sillevis, John; De Haagse School en de jonge Van Gogh, Zwolle, Wanders Uitgevers &

Den Haag, Gemeente Museum, 2005. Loos, Wiepke, ‘Cornelis Kruseman, predikend in dewoestjin’, Bulletin van het Rijksmuseum, 39,

1991. Loos, Wiepke, et al, Langs velden en wegen: de verbeelding van het landschap in de 18de en 19de eeuw,

Amsterdam, Rijksmuseum/Blaricum, V&K Publishing, 1997. Marius, C.C.P., Dutch Painters of the 19th Century (1908), London, Antique Collectors’ Club, 1973. Muller, Sheila D., ed., Dutch Art: an encyclopedia, New York, Garland, 1997 (includes short

references to major Dutch artists) Nederlanse Schilders en Tekenaars in de Oost, 17de-20ste eeuw, Amsterdam, Rijksmuseum 1972. Netherlands Yearbook for History of Art, vol. 53, Picturing the exotic 1550-1890; Peasants and

Outlandish People in Netherlandish Art, Zwolle, Waanders Uitgevers, 2002. Ouwerkerk, Annemiek, Tussen kunst en publiek: een beeld van der kunstkritik in Nederland in de eerste

helft van de negentiende eeuw, Leiden, Primavera Press, 2003. (good bibliography) Ter Kuile, O., 500 jahr Nederlandse schilderkunst, Amsterdam, Amsterdam Boek, 1975 Van der Blom, Ad; Kurpershoek, Ernest; Thunissen, Claudia, nederlandse schilderkunst: tussen detail

en grandeur, Alphen aan den Rijn, Artrum, 1997 Van Tilborgh, Louis & Janzen, Guido, eds., Op zoek naar de Gouden Eeuw: Nederlands schilderkunst

1800-1850, Zwolle, Wanders Uitgevers, 1986

23 The Asian Modern © John Clark, 2013 French Academy Painting in the 19th century A.J.D, review of the Salon of 1847 L’Illustration, vol.IX no.217, Samedi 24 Avril, 1847, p.418. Baudelaire, Charles, Art in Paris 1845-1862, Salons and Other Exhibitions, tr Jonathan Mayne,

London: Phaidon Press, 1965. Boime, Albert, The Academy and French Painting in the Nineteenth Century, London: Phaidon, 1971. Des Cars, Laurence, De Font-Réaulx; Papet, Édouard, et al, The Spectacular Art of Jean-Léon Gérôme,

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français, Tokyo etc, Bridgestone Art Museum, 1983. Lafont-Couturier, Hélène et al, Gérôme & Goupil: Art and Enterprise, Paris: RMN; Pittsburgh Frick

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Kindai Bijutsukan, 1973; Wright, Beth S., Painting and history during the French Restoration: abandoned by the past, Cambridge,

Cambridge University Press, 1997. General History, Java & Indonesia Bayly, C.A., ‘Two colonial revolts: the Java War, 1825-30, and the Indian ‘Mutiny’ of 1857-59’, in

Bayly, C.A. & Kolff, D.H.A., eds., Two Colonial Empires, Dordrecht, Martinus Nijhoff Publishers, 1986.

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Ricklefs, M.C., A History of Modern Indonesia since c.1300, London: Macmillan, 1981, 2nd Ed. 1993. Vickers, Adrian, A History of Modern Indonesia, Cambridge: Cambridge University Press,2005, 2010. Wessing, Robert, ‘A tiger in the heart: the Javanese Rampok Macan!’, Bijdragen tot de Taal- Land- en

Volkerkunde, vol, 148, no.2, 1992, 287-308. http://en.wikipedia.org/wiki/Battle_of_Java_%281942%29 General History -Netherlands Kossman, E. H., The Low Countries, 1780-1940, Oxford, Clarendon Press, 1978. Wintle, Michael, An economic and social history of the Netherlands, 1800-1920, demographic, economic and

social transition, Cambridge, Cambridge University Press, 2000. General History, Europe Craig, Gordon, R., Germany 1866-1945, Oxford, Oxford University Press, 1978, 1981. Wikipedia, at en.wikipedia.org entry on ‘Revolutions of 1848 in the German States’. Asian Contacts with European art before the 20th century (selected) Arnold, Lauren, Princely gifts and papal treasures: the Franciscan mission to China and its influence on the art

of the West, San Francisco, Desiderata Press, 1999. Aubin, Françoise, ‘Christian Art and Architecture’ in Tiedemann, R.G., ed., Handbook of

Christianity in China, Vol II: 1800 - Present, Leiden:Brill, 2010. Barmé, Geremie, ‘The Garden of Perfect Brightness: A Manchu Vision of China’, in Paroissien,

Leon, ed., Visual Arts and Culture, Volume 1, Part 1 (1998), see also

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http://www.chinaheritagequarterly.org/ No. 8, December 2006: Yuanming Yuan, the Garden of Perfect Brightness

Beurdeley, M. &. C, Giuseppe Castiglione, Rutland, Tuttle, 1971. Braat, J., Filedt Kok, J.P., Hofenk de Graaff, J.H., Poldervaart,P., ‘Restauratie, conservatie en

onderzoek van de op Nova Zembla gevonded zestiende-eeuwse prenten’, Bullet van het Rijksmuseum, vol. 28, 1980.

Cahill, James, ‘Late Ming landscape albums and European printed books’, in Rosenwald, L.J., The Early Illustrated Book, 1982.

Cahill, James, The Compelling Image: Nature and Style in Seventeenth Century Chinese Painting, Cambridge, Harvard University Press, 1982

Chen Yuhuan, zhubian, Zhongshandaxue Lishixi, Guangdong bowuguan, bian, Xifangrenyanli de zhongguo qingdiao Views from the West, Beijing, Zhonghua shuju, 2001

Cheng Cunjie, zhubian, Haiyi yizhen, 1820, Gems left by overseas trade: Cantonese export arts ad crafts from the 18th to early 20th century, Shanghai, Shanghai guji chubanshe, 2005

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Delahaye, Hubert, ‘Du peu d’effet de la peinture occidentale en Chine’ in Jami, Catherine; Delahaye, Hubert, eds., L’Europe en Chine, interactions scientifiques, religieuses et culturelles aux

XVIIe et XVIIIe siécles, Paris, Collége de France, 1993. Edgerton, S.Y., The Heritage of Giotto’s Geometry, (Chapter 8, Geometry and the Jesuits in the Far

East), Ithaca, Cornell University Press, 1991. Exploring Marine Art, Hong Kong, Maritime Museum, 2007 Franke, Wolfgang, China and the West, Oxford, Basil Blackwell, 1967 Gilman, S.I. ‚ Lam Qua and the development of westernized medical iconography in China’,

Medical History, 30 (1) January 1986. Heinrich, Larissa, ‘Curing Chinese Culture: Lam Qua’s medical portraiture’, in Liu, Lydia, ed.,

Translating Modernity, Durham, Duke University Press, 2007. Ho Kam-chuen et al, Historical Pictures, Hong Kong Museum of Art, 1999 (3rd ed), Hsiang Ta (Xiang Da), ‘European influences on Chinese Art of the Later Ming and Early Ch’ing

Period’ (original in Dongfang Zazhi , vol.27, no.1, January 10th, 1930, translated by Wang Teh-chao), Renditions no.6, Spring 1976.

Ijzerman, J.W., ‘Hollandsche prenten als handelsartikel te Patani in 1602’, Gedenkschrift uitergeven ter gelegenheid van het 75-jarig bestaan op 4 juni 1926 van het Koninklijk Insituut voor Taal-, Land- en Volkenkunde van Nederlandsch-Indië, ’s Gravenhage, 1926

Ishida Mikinosuke, ‘A Biographical Study of Giuseppe Castiglione (Lang Shih-ning), a Jesuit Painter in the Court of Peking under the Ch’ing Dynasty’, Memoirs of the Tôyô Bunko, 1960, p.79-121;

Jeyns, Soame, ‘George Chinnery (1774-1852) with emphasis on the Chinese period (1825-1852) and the so-called Chinnery School of Chinese trade painting’, in Watson, W., The Westward Influence of the Chinese Arts, from the 14th to the 18th century , London, Percival David Foundation of Chinese Art, 1973.

Kôno Minoru, ed., Chûgoku Yôfûga Hyôgen no Dôny,û Meimatsu kara Shin jidai no kaiga, hanga, sashie-hon, Machida, Machida Shirtisu Kokusai Hanga Bijutsukan, 1995.

Kraus, Werner, ‘Chinese influence on early modern Indonesian Art / Hou Qua: a Chinese painter in 19th century Java’, Archipel 69, 2005

Kraus, Werner, ‘Einige Bermerkungen zur chinesischen “Trade Art” ’, unpublished ‘finger exercises’, n.d. (source of some German bibliography here).

Lach, Donald F., Asia in the making of Europe, Chicago, Chicago University Press, 1965. Le Comte, L., Das heutige Sina, Nürnberg 1699 Lee, Sai Chong Jack, China trade painting: 1750s to 1880s unpublished PhD thesis, University of

Hong Kong, 2005.

25 The Asian Modern © John Clark, 2013 Loehr, George, ‘Missionary artists at the Manchu Court’, Journal of the Oriental Ceramic Society, 34,

1962-63; Loehr, George, ‘The Sinicization of Missionary artists and their work at the Manchu court during

the Eighteeenth Century’, Cahiers d’Histoire Mondiale, vol. VII, no.3, p. 795-815, 1963; Lu, Wenxue, Yuedu he lijie: 17 shiji-19shiji zhongqi ouzhoude zhongguotuxiang (Reading and understanding:

The image of China in Europe from the 17th century to the mid-19th century) unpublished PhD thesis, Chinese University of Hong Kong, 2003.

Pelliot, Paul, ‘La Peinture et la Gravure Européennes en Chine au temps de Mathieu Ricci’, T’oung Pao, 1922, 1-18;

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Qing Imperial Court Painting, 25th Anniversary Special Issue of Orientations, vol.26, no.7, July/August 1995

Ricci, Matteo (Nicola Trigault ed. Latin, 1615, tr. Louis J. Gallagher) China in the 16th Century: The Journals of Matteo Ricci, New York, New York, 1953

Sandrart, Joachim von , Teutsche Academie der Bau- Bild- und Mahlerey Künste, Amsterdam 1679, reprint, München, Saur, 1992.

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Swiderski, Richard M., ‘The dragon and the straightedge, part 1: a semiotics of the Chinese response to European pictorial Space’, Semiotica 81-1/2, (1990); ‘part 2: The ideological impetus of linear perspective in late Ming early Qing China’, ibid, 82-1/2 (1990); ‘part 3: Porcelains, horses, and ink stones - the ends of acceptance’, ibid, 82 -3/4, (1990).

Ting, Joseph S.P. et al, East Meets West, Cultural relics from the Pearl River Delta Region, bilingual catalogue, Hong Kong, Museum of History, 2005

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Van Dongen, Paul, ‘Sensitive Plates’: Nineteen Chinese Paintings on Glass, Sassenheim, Sikkens Paint Museum & Leiden, National Museum of Ethnology, n.d. ca.1990s.

Vinograd, Richard, Boundaries of the Self, Chinese Portraits, 1600-1900, Cambridge, Cambridge University Press, 1992;

Yangcheng Fengwu / Souvenir from Canton, Chinese Export Painting from the Victoria & Albert Museum, Guangzhou Meishuguan, 2003

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2007 (where not included above) Anon. (1863), ‘Kunst of Java’, Kunstkronijk, N.S. 4. Blumberger, J. Th. (1922-23), ‘Raden Saleh as portretschilder’, Nederlandsch- Indie, vol VII, pp. 321-

323. Bickmore, Albert S. (1868), Travels in the East Indian Archipelago, London: John Murray. Bintang Djaoeh, J. 1909, ‘Raden Saleh, vermaard schilder’, Oedayana para prajitna, nr. 2, pp. 38-43. Bronbeek Museum (n.d.), Catalogus van het museum. Buddingh, S.A. (1859) Neerlands-Oost-Indie Reizen 1852-1857, Rotterdam, part 1. Catalogue Singapore (2006), Kwok Kian Chow (Edt.) Encounters. Southeast Asian Art in Singapore

Art Museum Collection, Singapore: SAM 2006.

26 The Asian Modern © John Clark, 2013 Chijs, J.van der (1874), Mijne Reis naar Java in 1869, Utrecht. D’Almeida, William Barrington (1864), Life in Java with sketches of the Javanese, London: Hurst and

Blackett, 2 Vol. Escher, B.G. (1931a), ‘De Merapi bij nacht 1865’, Tropisch Nederland, 4. Jaargang, No. 1, 4..Mai

1931. Escher, B.G. (1931b), ‘De Merapi in 1865 over dag’, Tropisch Nederland, 4. Jaargang, No. 2, 21.

September 1931. Gedenkboek Billiton (1927), 1852-1927, Billiton Maatschappij, s´Gravenhage. Geller, Hans (1955), Curiosa, Merkwürdige Zeichnungen aus dem 19. Jahrhundert. Leipzig: VEB

E.A. Seemann Verlag. Glerum, Jan Pieter (2003), ‘Raden Saleh: Javaanse romanticus geliefder dan ooit’, Moesson: Indisch

tijdschrift 47, no.12. Graaf, H.J. de (1978), ‘Busken Huet en Raden Saleh aan het toneel te Buitenzorg’, Moesson, 23.

jaargang, No. 1, 15. Juli 1978. Graaf, H.J., de (1968), ‘De overgave van Dipa-Negara’, Tong-Tong, vol.12, no.17. Graaf, H.J., de (1975), ‘Raden Saleh - Prins Djalma’. Tong-Tong, vol. 19.,no. 22. Graaf, H.J., de (1977), De geschiedenis van Ambon en de Zuid-Molukken. Wever. Graaf, H.J., de (1979a), ‘Raden Saleh’s leerijd in Holland’, Moesson, vol.22, no. 19. Graaf, H.J., de (1979b), ‘Raden Saleh terug in Indie’, Moesson, vol. 22, no. 20. Graaf, H.J., de (1979c), ‘Het Semarangse geslacht Bustam in de 18e en 19e eeuw; afkomst en

jeugd van Raden Saleh’, BKI 135, 2e en 3e aflevering.. Graaf, H.J., de (1979d), ‘De leeuwen van Raden Saleh’, Stichting Cultuurgeschiedenis van de Guillot, Claude & Pierre Labrousse (1997), ‘Raden Saleh, un artiste-prince à Paris’, Archipel 54. Hofmann, Friedrich (1865), ‘Ein Prinz und Maler Indiens’, Die Gartenlaube, No. 25, S.394-97. Holle, K.F. (1864), Tekenvoorbeelden voor het onderwijs in NederIandsch-Indie. Map met zes delen

waarvan deel 4 en deel 5 met litho's naar werken en tekeningen van Raden Saleh. Kalff, S. (1909), ‘Een javaansch schilder’, Eigen Haard, No.51, 18.12.1909. Kalff, S. (1923), ‘Het huis van Raden Saleh’, Indie, Vol. 7. No. 35, 28.11.1923. Kalff, S. (1931), ‘Eene Schilderij van Raden Saleh’, De Indische Verlofganger, 17.7.1931, p. 985-6. Kant, Renate, (n.d.), Go East-Go West: Zur wechselvollen Schadensgeschichte und Restaurierung des

Javanischen Doppelportraits. Unpublished paper. Lijst der schilder- en kunstwerken van nog in leven zijende Nederlandsche Meestrs welke zijn toegelaten tot de

Tentoonstelling te Amsterdam van den Jare 1834, Amsterdam 1834. Lijst der schilder- en kunstwerken van nog in leven zijende Nederlandsche Meestrs welke zijn toegelaten tot de

Tentoonstelling te `s-Gravenhage van den Jare 1835, `s-Gravenhage: H.J.J. de Groot, 1835. Lijst der schilder- en kunstwerken van nog in leven zijende Nederlandsche Meestrs welke zijn toegelaten tot de

Tentoonstelling te `s-Gravenhage van den Jare 1837, `s-Gravenhage: H.J.J. de Groot, 1837. Loos-Haaxman, Janette (1927/26), ‘Een portret door Chinnery’, Nederlandsch Indie oud en niew,

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