Like everything connected with the colonial period, it is sensitive, and even modern Dutch people feel obliged to write in a very politically correct way and to apologise for thing the ancestors did. I do not think this is necessary. We can together with Indonesians look at what cannot be changed, what has happened and what is our common past: a colonial period.
The second subject is Diponegoro. In the Rijksmuseum it is depicted twice. The first is a drawing describing the 'surrender of the terrorist' as the Dutch called him. It was made by Jan Bik, a colonial official who had te make drawings, but also functioned as the one who had to guard Diponegoro in prison. his drawing was not an official document and so was used to make a lithography in 1835 to glorify the Dutch victory. It was later again used to be printed on the banknote of one hundred rupiah.
A second image of Diponegoro in the Rijksmuseum is called 'The surrender of Diponegoro', although others considers this as the moment of the 'treason of the Dutch negotiators' who took Diponegoro by violence while he thought that he had come just to negotiate. The hero on this painting of Nicolaas Pieneman (in Amsterdam) probably based on a sketch by Francois de Stuers, son-in-law of the Dutch General De Kock.It is not Diponegoro who is in the centre, but De Kock in whose honour this was made, but it still has the title of 'The surrender of the terrorist'. (However, in my second view it has something like the classical Ecce Homo painting, where Pilate shows Jesus to the Jews and asks whether he shall free Jesus or not!)
If the museums are the new churches, their content is open for all kind of new interpretatyions, new emotions and feelings as well.