‘The Jakarta Salon': Remembering a home that nurtured Indonesian maestros
JAKARTA – Today, Indonesian maestros such as Affandi, Ahmad Sadali, Hendra Gunawan and Srihadi Soedarsono are celebrated as forefathers of Indonesian modernism, their works revered both at home and on the global stage.
But once, they were struggling young artists, striving to make their mark in the newly independent Indonesia. In those formative years, many found themselves drawn to Jl. Pasuruan No. 3 in Menteng, Central Jakarta, the home of Alexander and Caecilia Papadimitriou, where they would sip coffee, tea or whiskey, nibble on pisang goreng, exchange ideas and develop their artistic paths.
There, they found not just friendship, but genuine support; the kind that helped them grow, persevere and realize their full potential.
These precious, yet little-known stories are now revealed in the newly published coffee-table book The Jakarta Salon: The Patronage of the Papadimitrious – Shaping Modern Art in Indonesia. Authored by Hong Kong-based art specialist Rishika Assomull, the 293-page volume was launched at the very place where it all began: the Papadimitrious residence.
A house that made history
'Alexander and Caecilia Papadimitriou's home was not merely a place to house themselves and their five children,' Assomull said during a special interview with The Jakarta Post at the book launch on June 16. 'During the second half of the 20th century, this was the nucleus of the Indonesian art world, a space that helped transform overlooked, hungering artists into globally revered modern masters.'
Assomull was first introduced to Caecilia Papadimitriou during a visit to Jakarta in 2014 by her colleagues at Sotheby's Singapore. She was immediately drawn in, not only by the depth of the family's private art collection, but also by Caecilia's vivid recollections of her late husband's friendships with some of Indonesia's most celebrated artists.
Two years later, their paths crossed again at an art fair in Singapore, where Assomull casually remarked that someone ought to write a book about Alexander Papadimitriou's role in shaping Indonesian modern art.
'Alex has already passed away, and now these memories are all in your mind,' she told Caecilia. 'They're not written out. It's a chapter in Indonesian art history that's just missing. And it's an important chapter.'
To her surprise, Caecilia immediately replied: 'Why don't you write my book?'
Traces of history: Rishika Assomull poses with her new book, The Jakarta Salon: The Patronage of the Papadimitrious – Shaping Modern Art in Indonesia, during its launch on June 16 at the Papadimitriou family residence on Jl. Pasuruan in Menteng, Jakarta. JP/Sylviana Hamdani (JP/Sylviana Hamdani)
A nine-year labor of love
Assomull took on the task, beginning a nine-year journey of unfolding memories, intimate conversations and careful archival work. She spoke with Caecilia, the Papadimitriou children, family friends and artists whose lives had touched theirs. The result is a deeply personal and finely layered volume, a testament to a couple whose quiet conviction and discerning eye helped shape the trajectory of Indonesian modernism.
Assomull, now senior director at Villepin Art in Hong Kong, was definitely the right person to write the book. Having grown up in Jakarta and spent over a decade at Sotheby's in New York and Singapore, she brings a deep understanding of the Southeast Asian, and particularly Indonesian, art scene.
She also writes evocatively, especially in the section that traces the family lineages of Alexander and Caecilia. What could have been a dry and complex genealogy unfolds instead with the ease and intrigue of an adventure novel.
The narrative opens with a vivid scene: Alexander's mother going into early labor deep in the forests of Pulau Rimau, South Sumatra. From there, the story gradually expands, weaving in details about his father, the family's circumstances and the broader historical landscape of the time.
These background narratives, though far-reaching at first glance, ultimately shed light on Alexander's character and later endeavors. Black-and-white photographs further enrich these passages, bringing both the stories and the era to life.
Where art and life intertwined
Assomull's rich, evocative diction adds texture throughout the book. Her portrayal of Alexander and Caecilia's first meeting is especially charming, leaving readers smiling and perhaps recalling their own romantic memories. Their contrasting personalities, as revealed in the book, complemented each other perfectly and formed the foundation of a resilient partnership that endured nearly five decades.
In the following chapters, The Jakarta Salon traces the Papadimitrious' enduring friendships with Indonesian artists and their unwavering support.
Alexander's connection to many of Indonesia's modern masters began in the early 1950s, while he was working at the Indonesian Embassy in Rio de Janeiro. Assigned to curate the country's presentation at the second Bienal Internacional de São Paulo (Dec. 13, 1953-Feb. 26, 1954), he hosted several Indonesian artists, including Affandi, at his home, forging bonds that would last a lifetime.
After settling in Jakarta with Caecilia, their home on Jl. Pasuruan became a gathering place for artists, collectors and curious visitors. As the book recalls, Caecilia always cooked more than enough for their family of seven, knowing guests would likely arrive unannounced.
'Artists of all ages came by,' recalled Constantin Papadimitriou, the couple's third child, during the book launch. 'His friends would visit, too. The flow of guests was truly nonstop.'
Alexander, quiet and generous, often bought works from artist friends, especially when they needed help covering children's school fees, medical bills or simply getting by. He also invited collectors into the home, nudging their interest toward Indonesian modern art and helping to grow the market.
'What moved me most about the book were the deeply personal things Papi did for the artists,' said filmmaker Nia Dinata, wife of Constantin. 'He stood by them, believed in them and helped them through some of the hardest moments in their lives.'
The book recalls how Alexander encouraged Srihadi Soedarsono to keep painting and continue teaching at the Bandung Institute of Technology (ITB), even as he faced intense criticism in the 1960s.
It also tells the story of Hendra Gunawan, who, after his release from prison, turned to Alexander for guidance. In response, Alexander organized a solo exhibition in Jakarta in 1980, where all of Hendra's paintings were sold. The proceeds enabled the artist to move to Bali and live out his final years in peace.
Friend in me: A section of the book is devoted to the friendship between Indonesian maestro Affandi and Alexander Papadimitriou. Featured on these pages are a photograph of the two friends, a handwritten letter from Affandi to Papadimitriou dated Aug. 7, 1965, and a catalogue from Affandi's 1966 exhibition in Rio de Janeiro. JP/Sylviana Hamdani (JP/Sylviana Hamdani)
A final gift
The book is beautifully illustrated with photographs of exquisite artworks by Indonesian maestros. It also includes impromptu sketches left by artists in the Papadimitrious' guest book.
'It's definitely Mami,' said Nia Dinata. 'Every single day, she would spend one or two hours talking about [the book], specifying which paintings and artwork would be in it. She knew our entire collection by heart.'
Sadly, Caecilia passed away in 2022, before the book was completed. Her steadfast dedication, however, is felt on every page.
The book is bilingual, with the Indonesian translation completed by Ioannis Ilham Papadimitriou, Nia and Constantin's eldest son, who passed away in October last year.
The first edition is limited to 1,000 copies, available at Gramedia bookstores across Indonesia for Rp 1,500,000 (US$92.36). Bakti Budaya Djarum Foundation and Yayasan Cinta Anak Bangsa (YCAB) have purchased 250 copies, which will be distributed to universities and art schools across the country.
More than just a beautifully produced volume, The Jakarta Salon is a tender portrait of a couple whose quiet generosity left a lasting imprint on Indonesian art history. Intimate yet expansive, this is a story of love; for art, for community and for Indonesia's creative spirit.
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She spoke with Caecilia, the Papadimitriou children, family friends and artists whose lives had touched theirs. The result is a deeply personal and finely layered volume, a testament to a couple whose quiet conviction and discerning eye helped shape the trajectory of Indonesian modernism. Assomull, now senior director at Villepin Art in Hong Kong, was definitely the right person to write the book. Having grown up in Jakarta and spent over a decade at Sotheby's in New York and Singapore, she brings a deep understanding of the Southeast Asian, and particularly Indonesian, art scene. She also writes evocatively, especially in the section that traces the family lineages of Alexander and Caecilia. What could have been a dry and complex genealogy unfolds instead with the ease and intrigue of an adventure novel. The narrative opens with a vivid scene: Alexander's mother going into early labor deep in the forests of Pulau Rimau, South Sumatra. From there, the story gradually expands, weaving in details about his father, the family's circumstances and the broader historical landscape of the time. These background narratives, though far-reaching at first glance, ultimately shed light on Alexander's character and later endeavors. Black-and-white photographs further enrich these passages, bringing both the stories and the era to life. Where art and life intertwined Assomull's rich, evocative diction adds texture throughout the book. Her portrayal of Alexander and Caecilia's first meeting is especially charming, leaving readers smiling and perhaps recalling their own romantic memories. Their contrasting personalities, as revealed in the book, complemented each other perfectly and formed the foundation of a resilient partnership that endured nearly five decades. In the following chapters, The Jakarta Salon traces the Papadimitrious' enduring friendships with Indonesian artists and their unwavering support. Alexander's connection to many of Indonesia's modern masters began in the early 1950s, while he was working at the Indonesian Embassy in Rio de Janeiro. Assigned to curate the country's presentation at the second Bienal Internacional de São Paulo (Dec. 13, 1953-Feb. 26, 1954), he hosted several Indonesian artists, including Affandi, at his home, forging bonds that would last a lifetime. After settling in Jakarta with Caecilia, their home on Jl. Pasuruan became a gathering place for artists, collectors and curious visitors. As the book recalls, Caecilia always cooked more than enough for their family of seven, knowing guests would likely arrive unannounced. 'Artists of all ages came by,' recalled Constantin Papadimitriou, the couple's third child, during the book launch. 'His friends would visit, too. The flow of guests was truly nonstop.' Alexander, quiet and generous, often bought works from artist friends, especially when they needed help covering children's school fees, medical bills or simply getting by. He also invited collectors into the home, nudging their interest toward Indonesian modern art and helping to grow the market. 'What moved me most about the book were the deeply personal things Papi did for the artists,' said filmmaker Nia Dinata, wife of Constantin. 'He stood by them, believed in them and helped them through some of the hardest moments in their lives.' The book recalls how Alexander encouraged Srihadi Soedarsono to keep painting and continue teaching at the Bandung Institute of Technology (ITB), even as he faced intense criticism in the 1960s. It also tells the story of Hendra Gunawan, who, after his release from prison, turned to Alexander for guidance. In response, Alexander organized a solo exhibition in Jakarta in 1980, where all of Hendra's paintings were sold. The proceeds enabled the artist to move to Bali and live out his final years in peace. Friend in me: A section of the book is devoted to the friendship between Indonesian maestro Affandi and Alexander Papadimitriou. Featured on these pages are a photograph of the two friends, a handwritten letter from Affandi to Papadimitriou dated Aug. 7, 1965, and a catalogue from Affandi's 1966 exhibition in Rio de Janeiro. JP/Sylviana Hamdani (JP/Sylviana Hamdani) A final gift The book is beautifully illustrated with photographs of exquisite artworks by Indonesian maestros. It also includes impromptu sketches left by artists in the Papadimitrious' guest book. 'It's definitely Mami,' said Nia Dinata. 'Every single day, she would spend one or two hours talking about [the book], specifying which paintings and artwork would be in it. She knew our entire collection by heart.' Sadly, Caecilia passed away in 2022, before the book was completed. Her steadfast dedication, however, is felt on every page. The book is bilingual, with the Indonesian translation completed by Ioannis Ilham Papadimitriou, Nia and Constantin's eldest son, who passed away in October last year. The first edition is limited to 1,000 copies, available at Gramedia bookstores across Indonesia for Rp 1,500,000 (US$92.36). Bakti Budaya Djarum Foundation and Yayasan Cinta Anak Bangsa (YCAB) have purchased 250 copies, which will be distributed to universities and art schools across the country. More than just a beautifully produced volume, The Jakarta Salon is a tender portrait of a couple whose quiet generosity left a lasting imprint on Indonesian art history. Intimate yet expansive, this is a story of love; for art, for community and for Indonesia's creative spirit.
