About me
Fabiandra Andries
I am Fabiandra Andries and I am a Masters student in Art History from Sorbonne Université, Paris.
As a child, my enthusiasm and passion for Art History has always been omnipresent throughout my life. My first contact to it being a book on Ancient Egyptian mythology I had at school. By 9 years old, my obsession was noticed by one of my teachers and it was at this moment that I found out the existence of a museum called the Louvre in Paris that became my obsession for the next 15 years of my life. By age 11 I was able to memorise the main rooms of the museum and was able to guide a school friend who visited it, from my room in Indonesia without ever stepping foot inside of the museum itself.
Since my arrival in France in 2021, I have then visited said museum 72 times. On top of that, I have also done 164 cultural excursions to 56 different museums, monuments and historical sites in Europe. I have since graduated my Bachelors degree in Art History in the Sorbonne Université in 2026 and am now ready to continue my education to a Masters degree. My personal projects include the Instagram account @BerbincangSeni, and a small introduction exhibition to the painter Raden Saleh: The Voice of Java in Europe in September 2025 in Paris.
Masters Project
Raden Saleh (1811–1880): Orientalism from The Orient
The Orientalism trend in the XIXth century has always been tied with western perspectives, fantasies, and imaginations nourished by texts imported from south west Asia and north east Africa.
But what happens, when a painter from Asia arrives in Europe and renders his own vision of the eastern side of The World?
Why the research?
In a 19th century world where Art from non-European cultures was seen through European means and definitions, Raden Saleh proposes a different vision through his Art. As the first Asian to ever obtain a European artistic formation, his perspective of looking at the non-European world as a memory, an experience or even the place of his childhood provides a new and more nuanced perspective on the otherwise fantasy and exotic driven view of these worlds.
What is interesting is how two different artistic environments, both Javanese and European intertwines within the artists artworks, creating original perspectives that is born of the two. Furthermore, it is important to study Raden Saleh in the Orientalism trend context in order to provide a fresh perspective on the Orientalism phenomenon in the 19th century through a post-colonial approach as through his works, we see not only a representation of and from the Asian world, but also a voice that puts itself apart from the imaginative European fantasies of the cultures from the East.
“The first Asian to ever obtain a European artistic formation.”
Raden Saleh, The Arrest of Prince Diponegoro, 1857 — Istana Negara, Jakarta
Who is this painter?
Saleh Syarif Boestaman or more widely know by the name Raden Saleh is a Javanese born painter in the 19th century. Born in 1811. The painter was born in the early periods of the beginnings of the intensification of the Dutch colonial rule in the Indonesian archipelago. His artistic skills was then noticed by the Belgian painter Auguste Antoine Joseph Payen (1792–1853), this eventually led to him being sent to Europe in 1829 to obtain a European artistic formation.
During his stay in Europe, the artist nourished himself through spending time in museums, galleries, and even studying under European artists such as Horace Vernet (1789–1863) in Paris, France. It is also during this stay in Europe that he was able to further expand his artistic prowess, and even participating in the Salons of the Louvre museum.
After his return to Indonesia in 1851, the painter not only continued his artistic career in Java, but also expanded his insight to multiple subjects such as Paleontology, Archeology, and even Zoology such as developing the early form of what is today known as the Ragunan Zoo in South Jakarta today.
Why the crowdfunding approach?
As an Indonesian who grew up in close contact with people who are very passionate and concerned about History and Culture, I am a strong believer that the chance to tend and support one’s culture is an inclusive right for everyone regardless of their financial backgrounds. I have personally met and been entrusted funds by people who are willing to skip their meals in order to support students and their studies. These people have very much marked the way I perceive on what the true essence of fundraising, which is not simply the financial aspect of it, but more importantly to truly have the heart, the concern, the spirit, and the sense of belonging to the study that is concerned.
I hope that through this crowdfunding method, I am able to give the chance to individuals who poses the same spirit as I do for culture, the chance to be a part of the research and study that we hope can lead to a better future for this discipline.
How you can support this project
All the funding will be collected into two different bank accounts. The first one being a Revolut account under my name (for international transfers) and a 2nd account being an Indonesian account to facilitate transfers from fellow Indonesians. The details of these 2 bank accounts are further down this page.
The details of how much funds are needed can be found in the funding breakdown below.
At the end of the 2 month research period, I will publish a detailed expense report on how the funds are used throughought the research process.
If you have any further questions about the research or the funding, please feel free to reach out to me through these contact platforms.
Transparency
Detailed funding breakdown
€0 raised of €6,455
| Item | Amount |
|---|---|
| Budget lines are listed here. | — |
| Total needed | — |
These figures come from the budget submitted with the research proposal. A full expense report follows the two-month research period.
Support the project
Every contribution carries the research forward
All funds received from international accounts are collected in this Revolut account.
Give via Revolutrevolut.me/fabiandraa
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