Delsy Syamsumar
*Delsy Sjamsumar* or Delsy Syamsumar was the only Indonesian painter that was acknowledged by The France Art and History Institution through the world art literary “France Art Journal 1974” as the best South East Asia painter with a huge talent such as painter, comic illustrator, designer, film story board, art director, production designer and so on. In that journal it was said that Delsy was *“II’exellent dessinateur”* and*“Literature’s Contemporaines L’ Azie du Sud Est.* (An excellent designer” and “The best literature contemporer in South East Asia.” In addition as an illustrated story painter and a talented illustrator, he also used to be awarded as the best Asian Art Director through his film entitled Holiday in Bali, directed by H. Misbah Yusabiran in Asian Film Festival in Tokyo in 1964, during the Summer Olympic in Japan. A lot of his works illustrate many famous Indonesian mass media such as Kartini magazine that it logo was made by him, Aneka, Vista, Caraka, Singgalang, Pos Kota, Pos Film, Majalah Film, Senang, Misteri, Amanah, Idola, Anita and many more. Delsy’s works were not only oriented on some media but they also reached to the complex media that never been done by other South East Asia painters, such as Indonesian airway company’s logo “*Bouraq Indonesia*, the old Pertamina’s logo of sea horse, tissue design package, condom package, soap, book cover to the Minang traditional house logo that currently spread out was one of his works. He also well known as a sculptor whether for monument, sculpture for film stuntman, etc. There were many comics he made such as *Mawar putih, Bajak Laut Aceh,* *Pertempuran Lima Hari Lima Malam di Palembang, Mat Pilun, Tonggeret, *Indonesian epic comic such as: *Diponegoro, Sentot Alibasya, Sultan Hassanudin, Christina MT, Tuanku Imam Bonjol*, *Cut Nyak Dien* and there were still many more of his works. His comics were collaboration between classic and modern paint art that represented Indonesian people in common between 1957 to 2001. Painting exhibition that was performed together (biennale) with Indonesian famous painters such as *Basuki Abdullah*, *Sudjoyono* and so on in Jakarta in 1986 raised Delsy’s name further because his works were sold more, the most expensive and interested by local and foreign painting lovers. At that time, painting observers analyzed that the factors motivated his painting buyers was lied on his creativity that able to express Indonesian society situation that lived on porches of stores and shops and sidewalk of the dirty downtown that full of reality in New Era of Indonesian goverment or Suharto’s Goverment (*orde baru)*. Delsy was born in Medan and his parents come from Bukittinggi, Sumatera Barat in 1935. He was an Indonesian painter that learnt to his teacher, Wakidi, a leading painter in *orde lama *era. In the middle of Japanese comic and animation invasion that attack Indonesia nowadays. Comic and animation observer, *ombushman*, Indonesian publisher began to miss works as in Delsy Sjamsumar strike again to wipe his brush on the paper. His works was vulgar through its era. So that he was often reminded by *ulama*, religious leader and society observer to Indonesian politician. In the world of cinema, there were movies that he took apart such as *Malam Jahanam, Kemelut Hidup*,*Saur Sepuh, Bernafas dalam Lumpur, Sebelum Usia 17, Jangan Sakiti Hatinya, Live love and tears, Buaya Deli, Jayaprana, *and so on. He passed away on his first wife’s lap “Adila” in 2001 in Jakarta, Indonesia and left 9 children and 5 wives that used to marry with him. Of course for Indonesian society that used to see and observe of Delsy works, appreciate his magnificent works, and no wonder if Delsy’s works were protruded as the painting and illustration of “Indonesian Art Identity”. It was expected that new Delsys would come up and able to show their ability in the world of comic and animation just like Japan that represented Osamu Tezuka or America that represented Disney. (V. Dermawan). 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