Lot#54 || Somnath Hore (1921-2006)
UNTITLED (Wound-104)
(1972)
Etching on paper
Signed lower right
16.50 x 11.40 in
Estimate ₹ 1,00,000 - ₹ 2,00,000
PROVENANCE
Estate of an eminent collector
Estate of an eminent collector
CATALOGUE NOTES
Dated in Bengali.
This particular work - being the most explicit depiction of Hore’s Wounds gives one an insight into the artistic process.
The work’s base layer is an etching dated in Bengali as 1972. There is a faint signature to the left that reads SO(mnath), followed by an eight in Bengali. Hence this piece seems to have been worked on by the artist for over a decade- the 70s and 80s, suggesting that masterpieces are indeed not made overnight.
This is referred to as ‘Pentimento’ - an artwork reworked by an artist. Some parts of the etching are edited or rubbed out. Black paint has been used to further accentuate the wounds, while white lines show up as indentations and deep gashes on the reverse, highlighting Hore’s preoccupation with the concept of Wounds.
The work should indeed be described as a unique composition and not an editioned print. The visualisation of wounds is immense, a ‘back-stabbing’ dagger, tearing of skin, a crude bomb in the hand - amply showing the despair and death seen around the Bangladesh War.
Dated in Bengali.
This particular work - being the most explicit depiction of Hore’s Wounds gives one an insight into the artistic process.
The work’s base layer is an etching dated in Bengali as 1972. There is a faint signature to the left that reads SO(mnath), followed by an eight in Bengali. Hence this piece seems to have been worked on by the artist for over a decade- the 70s and 80s, suggesting that masterpieces are indeed not made overnight.
This is referred to as ‘Pentimento’ - an artwork reworked by an artist. Some parts of the etching are edited or rubbed out. Black paint has been used to further accentuate the wounds, while white lines show up as indentations and deep gashes on the reverse, highlighting Hore’s preoccupation with the concept of Wounds.
The work should indeed be described as a unique composition and not an editioned print. The visualisation of wounds is immense, a ‘back-stabbing’ dagger, tearing of skin, a crude bomb in the hand - amply showing the despair and death seen around the Bangladesh War.
