Stated below is the text of the second catalog 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.
Read More
A silent, dedicated artist content amidst the walls of paintings stacked in his Begumpur 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.
Read MoreIt was D.G. Nadkarni, elder statesman among Bombay’s art critics, who first told me that Bhanu Athaiya had trained as a painter and had once shown alongside the members of the Progressive Artists' Group (PAG).
Read More
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"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.
Read MoreBombay, May 2010 - "I was exposed to paintings from a very young age. My father was a self-taught artist who sometimes painted in oils by studying the old European masters and sometimes following his own inspiration. In his studio, he had many books on paintings of European masters like Leonardo Da Vinci, Rembrandt, Turner, Gainsboro, Constable, and others. I enjoyed looking at these books just as I enjoyed washing my father's brushes and pallet.
Read More
Post-Independence India was a new revolution in India’s history. As the struggle for freedom was finally achieved, new mindsets were formed. The new free India respected and worshiped humanity at its best along with promoting freedom of expression. At this point, a group of supreme artists came together who shared a common art type: modern art for the new free India and called themselves the Bombay Progressives Art Group!
Read MoreBorn in 1914 K. H. Ara, a founder member of the Progressive Artists’ Group, evolved his trademark style, through nudes and still-life paintings. At first, he preferred to make still lifes for commission due to his financial status. He was a modernist for whom the form and language of art preceded all other social and political motivations. This evolved a certain eclecticism which led him in an exploration of his own style unlike other members of PAG.
Read More
Born in 1914, K. H. Ara, a founder member of the Progressive Artists’ Group, evolved his trademark style, through nudes and still-life paintings. He was a modernist for whom the form and language of art preceded all other social and political motivations. This evolved a certain eclecticism which led him in an exploration of his own style.
Read More
Stated below is the text of the second catalog 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.
Read More
A silent, dedicated artist content amidst the walls of paintings stacked in his Begumpur 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.
Read More
It was D.G. Nadkarni, elder statesman among Bombay’s art critics, who first told me that Bhanu Athaiya had trained as a painter and had once shown alongside the members of the Progressive Artists' Group (PAG).
Read More
"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.
Read More
Bombay, May 2010 - "I was exposed to paintings from a very young age. My father was a self-taught artist who sometimes painted in oils by studying the old European masters and sometimes following his own inspiration. In his studio, he had many books on paintings of European masters like Leonardo Da Vinci, Rembrandt, Turner, Gainsboro, Constable, and others. I enjoyed looking at these books just as I enjoyed washing my father's brushes and pallet.
Read More
Post-Independence India was a new revolution in India’s history. As the struggle for freedom was finally achieved, new mindsets were formed. The new free India respected and worshiped humanity at its best along with promoting freedom of expression. At this point, a group of supreme artists came together who shared a common art type: modern art for the new free India and called themselves the Bombay Progressives Art Group!
Read More
Born in 1914 K. H. Ara, a founder member of the Progressive Artists’ Group, evolved his trademark style, through nudes and still-life paintings. At first, he preferred to make still lifes for commission due to his financial status. He was a modernist for whom the form and language of art preceded all other social and political motivations. This evolved a certain eclecticism which led him in an exploration of his own style unlike other members of PAG.
Read More
Born in 1914, K. H. Ara, a founder member of the Progressive Artists’ Group, evolved his trademark style, through nudes and still-life paintings. He was a modernist for whom the form and language of art preceded all other social and political motivations. This evolved a certain eclecticism which led him in an exploration of his own style.
Read More
