(Enhanced Spelling: , ) is a 1939 oil painting on canvas by . This portrait depicts a woman seated in front of an open mosquito net, with hints of a four-poster bed behind her. One arm runs along the back of her chair, while the other grips the seat, creating a pose variously identified as showing tension and anxiety. The sitter was initially unknown, but has been identified as a sex worker named Adhesi, whom Sudjojono had sought to bring out of prostitution. The painting was purchased by Sukarno in the 1940s and remains in the collection of the Presidential Palace. It has been described as "one of the most iconic paintings of Indonesian modern art". Analysis has noted similarities to works by Raphael and Vincent van Gogh, and explored the work as a criticism of Dutch colonial rule.

Description is an oil painting on canvas that measures . The work is completed with rapid brushstrokes, with sections of the canvas left empty. The painting was completed by in 1939. The artist had trained under several painters, including Mas Pirngadi and Abdullah Suriosubroto, but grown tired of the established "Beautiful Indies" () genre that he described as based around a "holy trinity" of mountains, coconut palms, and rice fields. He promoted the view that art should reflect reality, with its blemishes. Thematically, was unprecedented in Indonesia at the time of its completion.

The painting depicts a woman wearing a flowered kebaya, with a dominance of yellows, reds, and greens, as well as a dark sarong with a red trim.; Her black hair runs freely down her back, The subject is depicted sitting between two open curtains with one arm leaning on the chair and the other gripping the seat. The woman's face is pale and her lips are tightly pursed, while her black eyes stare forward. In the background is curlicue ironwork, indicating a four-poster bed. The painting includes Sudjojono's signature four times, as well as the place of completion"Djakarta"and year.

The pose depicted in has been described variously as showing tension and anxiety. Simon Soon of the University of Melbourne describes the portrait as having an unsettling quality, with the subject's "sickly" body "clumsily propped up" against the chair. Writing for the National Portrait Gallery of Australia, the Indonesian art critic Aminudin Siregar views the pose as simultaneously mysterious and annoyed, as though the sitter "intends to leave as soon as the painting session finishes". In Art History, Kevin Chua presents the pose as concealing a feeling of dejection or anger.

Subject The subject of was initially unidentified. In the 1950s, the Indonesian art community debated the identity of the sitter. Subsequently, the literata Sanusi Pane wrote that she seemed to be a woman who had seen suffering, while Umar Kayam of Gadjah Mada University explored the question in a front-page feature in the newspaper Kompas.

In her 2006 memoirs, Sudjojono's first wife Mia Bustam wrote that the sitter had been a sex worker named Adhesi, with whom the artist had cohabitated. Sudjojono is quoted as having become a regular client of Adhesi after becoming interested in her life story, whereby she was forcibly married to a haji based in Cirebon, West Java, and fled to Jakarta. Sudjojono sought to marry Adhesi, to the point of taking her to meet his parents, and perceived himself as rescuing Adhesiwhom he called Miryamas Jesus had rescued Mary Magdalene. However, Adhesi left Sudjojono when he was unable to provide a steady income, and her own earnings as a prostitute in Senen were greater than his earnings.

Analysis

Writing for the Cabinet Secretariat, Kukuh Pamuji describes as a critique of the suffering experienced by Indonesians under Dutch colonial rule. This conclusion is echoed by the Indonesian art critic Zuliati, who also highlights the work's presentation of social inequalities. Chua likewise highlights a defiance to Dutch control, though he links it to the increased regulation of prostitution. Siregar, meanwhile, contrasts the sitter's "distraught and uncomfortable" pose with the warmth expected of a woman in the bedroom, writing that "may well be S. Sudjojono's erotic perception when recording the moment of separation – cold, quiet and flat".

Soon finds a "stylistic affinity" between and Vincent van Gogh's La Mousmé (1888), though he notes that the sitter in Sudjojono's portrait appears "wizened and haggard" in comparison. Chua finds similarities in the framing of the subject in and Raphael's Sistine Madonna (1512), though he argues that, unlike the earlier work, "everything about the painting refuses the transcendental, refuses the world beyond", instead emphasizing the "concrete presence" of the sitter.

Legacy was purchased by Sukarno at an unknown date before 1948; as it survived the Indonesian National Revolution when many of Sukarno's later acquisitions were destroyed, it was likely acquired between 1940 and 1947. It remains in the collection of the Presidential Palace of Indonesia, being hung at the Bogor Palace . The painting has also been exhibited outside the palace, such as during the exhibition (17/71: Battlelines of Freedom) in 2016.

The American art historian Claire Holt considers one of Sudjojono's best, highlighting the contrast of the subject's tense expression with the fluffy mosquito netting as well as the work's use of colour. The Indonesian art historian Wulan Dirgantoro contrasts the work and its "unflattering" depiction of its subject and earlier paintings of exotic and beautiful women in the genre, writing that this break from convention allowed the work to become "a clarion call for more truthful subject matter in Indonesian paintings". Siregar describes it as "one of the most iconic paintings of Indonesian modern art".

has served as the basis for several other Indonesian artworks. The painting was reproduced by the Indonesian photographer Herra Pahlasari in a 2009 self-portrait. The artist also created a video with potential poses that Adhesi may have used. In 2018, the painter Moelyono exhibited a portrait of a ludruk dancer inspired by Sudjojono's work at Flinders University.

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