Bhanu Athaiya and Early Indian Modernism: Steps Towards Abstraction in Post-Independence India
This is a research note on early post-independence modernism (1951-1952) and steps towards abstraction, with a specific focus on Bhanu Athaiya.
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Abstract
Who Was Hari Ambadas Gade? Progressive Artists’ Group Painter and Indian Modernist Explained
A founding member of the Progressive Artists’ Group and one of the first Indian modernists to incorporate abstract expressionism into their artworks post-independence, Hari Ambadas Gade is known for his abstract landscape compositions and vibrant colour palette. Working against the dominance of western academic realism under the British Raj, he developed a vivid, structurally driven visual language that remains singular within modern Indian art.
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Jamini Roy’s Modernism
Why Jamini Roy's Visual Language was Truly Avant-Garde This discussion examines Jamini’s invented language (of modernism) and what makes him a creative genius. This examines his crucial contribution to Modernism in India / the beginnings of true modernism in India.
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Inside Keren SouzaKohn's home studio: Exploring her life and art
As we once again visited Keren SouzaKohn's lively home studio nestled amidst the lush green paddies and red roads of Saligao, our gaze fell on her colourful artworks reflecting life in Goa. Splashes of green, blue and intimate depictions of unhurried life in the coastal paradise uncovered vibrant portrayals of quiet village moments, the local folk and bustling markets. This immediately made us wonder about her artistic journey so far, and hence we embarked on yet another interview focusing on the life and art of Keren SouzaKohn.
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Amina Ahmed Kar: Of Artistry and Academia
Amina Ahmed Kar’s intellectual and creative pursuits were ever evolving. Her dual legacy as an artist and academic is reflected in her oeuvre, which remains largely unexplored. As one of India's early abstract artists, she created works across various mediums. Call it the academic in her who would leave no leaf unturned or an artist in search of her creative expression, Kar’s body of work transformed endlessly.
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Ram Kumar: The Visual Metaphorist
Ram Kumar’s existence in the art world was much like a peaceful mountain, exuding a sense of serenity and enduring presence. The reticent artist wielded both the pen and brush but ultimately embraced the latter as his mightier sword of choice. Born in 1924 in Shimla, Kumar’s meditative surroundings deeply affected his sensibilities as an artist. He imbibed a sense of calm from the silent mountains and the clear blue skies that found expression in his paintings. His affinity with nature, the serene flow of slow-seeping rivers, the allure of solitary spaces, and the haunting charm of abandoned structures would all combine to establish him as the foremost significant abstract painter in the Modern Indian art world.
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Before the Figure: Manjit Bawa and the Free-Floating Form
Manjit Bawa is most often approached through his mythic protagonists—Krishna, animals, lovers—held in suspension against vast, luminous grounds. Yet the language that carries these narratives begins earlier, as form: rounded, pliant, weightless. The 1977 abstract canvas Untitled (Free Floating Form) under discussion foregrounds the unit before it becomes figuration. It is not an outlier, separated from Bawa’s later world; it is a concentrated glimpse of the grammar he would go on to expand.
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M.F. Husain: The King of Hearts by Ashvin E. Rajagopalan
The only time I have seen M. F. Husain in person was at his exhibition in honour of singer M. S. Subbulakshmi at a gallery in Chennai (Madras) in 2004. Wearing no footwear, except for thick black socks, and wielding a massive paintbrush in one hand, Husain was surrounded by a group of Chennai’s socialites. I was patiently waiting behind them to meet Husain when he suddenly popped out and said, “Hello”. I was giddy with excitement and asked him to autograph the invitation card I had in my hand. He did so and quickly moved on to greet the next visitor. Husain was as excited to meet unknown gallery visitors as they were to meet him—the energy was amazing for a man who, at that time, was 91 years old. A year or so later, Husain left India, never to return.
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On Bhupen Khakhar's encaustic painting - Ranjit Hoskote
At first sight, this encaustic painting – rendered in heated beeswax, into which pigments of various colours have been mixed – seems to be worlds away from what most viewers know of Bhupen Khakhar’s work. There are no limp-limbed yet curiously wide-awake men from a broad middle class; no domestic interiors laid out for erotic encounter; no playful or picaresque encounters among figures whose ordinariness is belied by some eccentric bodily feature or undecipherable gesture. No figures at all, in fact.
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Manjit Bawa: the lyrical painter
Once upon a time, a dreamer derived his painterly language from Indian mythological tales, legends, and fables rich in moral and spiritual lessons. Manjit Bawa (b. 1941) introduced fragments of his thoughts, ideas, and poetry into the rational world throughout his artistic oeuvre. Born in Dhuri, Punjab, Bawa's childlike fascination with music, spirituality, and philosophy breathed heavily on his canvas. Manjit Bawa's artworks are mystical musicals that strike a chord and capture a dream.
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A historical rediscovery: the second PAG Catalogue, 1950
Stated below is the text of the second catalogue of the Bombay Progressive Artists' Group in collaboration with the Calcutta Group. Gobardhan Ash's works were exhibited in the joint show of the Calcutta Group and Progressive Artists’ Group alongside masters such as K.H. Ara, Francis Newton Souza, Maqbool Fida Husain, S.H. Raza, H.A. Gade, and S.K. Bakre at Calcutta in 1950. This document is indeed a historically prominent yet lesser-known artistic discovery in the world of modern Indian art.
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Gobardhan Ash: the quiet master artist
A silent, dedicated artist content amidst the walls of paintings stacked in his Begampur mud house stirred a quiet revolution against the preconceived notions of artistic expression. No wonder Gobardhan Ash (b.1907) carved a niche for himself as an individualistic artist who fearlessly explored diverse artistic styles and techniques.
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An introduction to the Weavers' Service Centre
Years ago, artists from various walks of life gravitated towards a creative anomaly near Mumbai's Opera House. The Weavers' Service Centre was established in the 1950s by Pupul Jayakar. Masters such as Prabhakar Barwe, Anand Mohan Naik, Gautam Waghela, Ramesh Vaghela, and Gopal Adivrekar designed textiles at the center for years to support themselves while exploring their identities as artists.
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Pages from Bhanu's handwritten notes
"My father, a multifaceted man, was far ahead of the times. His thirst for knowledge led him to explore avenues of learning beyond scholastic and academic boundaries. He would travel to Mumbai frequently to collect books on various subjects ranging from painting to photography and embroidery to film making. These books were imported from Britain by Englishmen who had big stores in Mumbai.
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Gaitonde & Mohamedi at Bhulabhai Desai
Artists don’t exist in a vacuum. The feature looks at the works of two Indian artists who occupy a special niche in the art world. This feature looks at VS Gaitonde and Nasreen Mohamedi through different prisms.
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VS Gaitonde's Paintings - Technique And Processes
Abstraction refers to non-representational art, Figurative art refers to something with reality - both definitions are broad and have to be in fact, as otherwise, it would be seemingly impossible to categorize many artworks. What's the connection between these definitions with Vasudeo Santo Gaitonde's art? The connection becomes clear thanks to a recent exhibit at the Prince of Wales Museum (now called Chhatrapati Shivaji Maharaj Vastu Sangrahalay).
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Vasudeo S. Gaitonde - A Tapestry
Gaitonde grew up in Nagpur, Maharashtra, and studied at the J. J. School of Art. In 1947, he was invited to join the Progressive Artists’ Group and went on to become one of its original members. He worked with various mediums and used a roller and palette knives to create his layered texture, which later became his signature style.
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Two rare works by N.S. Bendre
Born in 1910 in Indore, N. S. Bendre trained at the State Art School in Indore in 1929. Bendre’s early works can be described as Impressionist and academic in style. He is well known for founding the Baroda Group of artists in 1956 as well as founding the Lalit Kala Akademi in Delhi.
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Bikash Bhattacharjee's Early Work
Bikash Bhattacharjee was born in Kolkata in 1940 and graduated from the Indian College of Arts and Draftsmanship, Kolkata in 1963. His works were inspired by his early childhood and environment.
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Early Abstraction in Indian Art
Abstract art or non objective art is a painting or sculpture that does not depict a person, place, or any other figure. With abstract art, the subject of the work is what you see: color, shapes, brushstrokes, size, scale, or just the process.
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