A few months ago, on a humid day in Bali, I ventured to the Le Mayeur Museum, an experience that left me somewhat devastated. The combination of the moist sea breeze and the relentless tropical climate had taken a toll on the oil paintings displayed within the museum’s walls.
The Le Mayeur Museum isn’t merely a place to admire art. It’s a former haven, a love nest shared by the renowned Belgian painter, Adrien Jean Le Mayeur de Merpres, and his wife, Ni Nyoman Pollok.
Born in Brussels in 1880, Le Mayeur hailed from Belgian nobility, descending from the union of Adrien Le Mayeur de Mepres and Louisa de Bosch. Le Mayeur’s passion for painting led him on an adventurous journey around the world, where he found artistic inspiration in France, Italy, Morocco, Tunisia, Algeria, India, Thailand, Cambodia, Tahiti, and ultimately the idyllic shores of Bali.
At the heart of this museum lie approximately 80 paintings, each meticulously crafted between 1921 and 1957 during Le Mayeur’s world travels and his stay in Bali. It was a sanctuary that bore witness to an extraordinary love story.
Ni Nyoman Pollok, a graceful Legong dancer renowned for her beauty and talent, captured Le Mayeur’s heart and became the muse behind many of his masterpieces. In 1935, their romantic tale culminated in a traditional Balinese wedding ceremony. Le Mayeur then purchased a 3200 sqm piece of land on the Sanur shores, and together, they began building a home — literally piece by piece. Every corner of their residence, from the furniture to the frames surrounding Le Mayeur’s paintings, was adorned with intricate carvings meticulously crafted by Balinese artisans.
However, as time passed, Le Mayeur’s health began to decline due to ear cancer. Seeking treatment in his home country of Belgium, he had Ni Pollok steadfastly by his side. Sadly, on the last day of May in 1958, at the age of 78, Le Mayeur drew his last breath.
Ni Pollok’s Silent Sacrifices
Within the beauty of the love story between the two lovers, there were also many sacrifices, and one of it left me deeply disheartened. Ni Pollok had yearned for a child with Le Mayeur, but every time she broached the subject, he declined, citing that her becoming pregnant would cause her to lose her splendid figure. A painful highlight of patriarchal mindset that reveals the power dynamics in their relationship, which sadly still persist in various forms today.
The intricate complexities of love and emotions felt by Ni Pollok are documented in Indonesian book “Ni Pollok Model from Kelandis Village” by Yati Maryati Wiharja, a short biography that’s definitely worth reading.
The Ongoing Restoration Saga
Le Mayeur’s artistic journey spanned various mediums, from canvas and hardboard to plywood, paper, and bagor. While his house became the guardian of these precious works of art, the passage of time gradually deteriorated their condition. Colors faded, cracks formed, and paint began to peel, affecting the collection’s condition. This deterioration was due in part to the location and environmental conditions, coupled with a lack of skilled restorers.
Nevertheless, in 2003, the Ministry of Culture and Tourism initiated a restoration effort, involving experts from Indonesia and abroad. In the initial stages, 15 paintings were successfully restored, and by 2006, the entire collection had been preserved.
However, upon my recent visit, the situation appeared unchanged. The paintings and the house were still in a deteriorated state. The paintings had faded, developed cracks, and exhibited peeling paint. The structural integrity of the house had also suffered. Within the silent battle as the museum grapples with preservation challenges; it somehow serves as a poignant reminder that some narratives, like the vibrant colors on canvas, are irreplaceable once they fade away.
