and canvases, which are increasingly difficult to find, have made Indonesian paintings tend to adopt simpler forms, thus giving birth to abstraction. The Cultural Manifesto Movement which aims to fight the coercion of communist ideology made painters in the 1950s prefer to free their works of art from certain political interests, so that the era of expressionism began. Paintings are no longer considered as messengers and propaganda tools. The journey of Indonesian painting from the pioneering work of R. Saleh to the beginning of the twentieth century, is still being swayed by various clashes of conceptions. The establishment of Indonesian painting which has not yet reached the level of success has been devastated by the idea of modernism which resulted in alternative or contemporary art, with the emergence of conceptual art: "Installation Art" and "Performance Art", which have mushroomed all over the art college around 1993-1996. Then came various alternatives such as "collaboration" as a fashion 1996/1997. Along with that, conventional painting with various styles adorns the galleries, which is no longer a form of appreciation for the community, but an alternative investment business. The term modern Indonesian art cannot be separated from the artistic tradition in Europe. The contact between Indonesian art and modern art has been going on for a long time and has been deep so that it has directly or indirectly created a cultural relationship or contact. Modern art in Europe has been proclaimed since the emergence of post-impressionism (early 18th century). At that time, the space for freedom to create works of art was wide open, beginning with the growth of individualistic attitudes in work. The individualistic attitude is getting stronger with the rampant experiments of the artists, both in terms of materials, techniques, and the expression of their art. The contact between Indonesian collective art and European modern art went through European painters who came to Indonesia. This touch has slowly but surely inspired certain individuals to open a new page in art, namely new art. In this new era of Indonesian art, several developments occurred, such as the following. The Period of Raden Saleh (Pioneer) In the mid-19th century, the world of painting or drawing art of Indonesian artists still referred to the traditional styles that developed in the regions. Most of these works of art hold decorative potential. For example, paintings in Bali and Java, and ornaments in Toraja and Kalimantan. The