Abstract
The painting Memahami Basuki Abdullah #2 (2023) by Djoeari Soebardja was selected as the object of study using a holistic criticism approach. The work presents a visual representation of damaged land through elements such as excavator-like strokes, gabions, and the landscape of the Sianok Canyon Valley, reflecting the artist’s concern over environmental destruction. This study aims to: (1) examine the influence of Djoeari Soebardja’s background on the creative process, (2) identify the values embedded in the painting, and (3) reveal the affective responses evoked in viewers. This research employs a qualitative method with a holistic criticism approach. Data were collected through interviews with the artist, direct observation of the artwork, and analysis of supporting documents. Data analysis was based on three main sources: genetic information (the artist’s background and conceptual ideas), objective information (the visual elements and formal aspects of the work), and affective information (viewers’ responses). Data validity was strengthened through methodological triangulation. The findings indicate a strong relationship between Djoeari Soebardja’s personal background and life experiences and the visual expression of the painting. Memahami Basuki Abdullah #2 reflects the artist’s anxiety over environmental degradation and conveys social values in the form of a reflective call to enhance collective awareness and responsibility for environmental preservation.
Recommended Citation
Lanjani, Latifa Ayu; Sumarwahyudi, Sumarwahyudi; and Anggriani, Swastika Dhesti
(2026)
"Kritik holistik lukisan Memahami Basuki Abdullah #2 karya Djoeari Soebardja,"
Journal of Language, Literature, and Arts: Vol. 6:
No.
1, Article 1.
Available at:
https://citeus.um.ac.id/jolla/vol6/iss1/1