Eclectic Visions unfolded in the bustling heart of Delhi, showcasing the rich tapestry of artistic expression. From poignant socio-political commentary to vibrant explorations of heritage and the fusion of jazz and art, our exhibit was a celebration of diverse voices and perspectives. The exhibit brought together four distinct voices, each weaving their narratives into the fabric of creativity.
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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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A letter written by Francis Newton Souza expressing his views on Modern Art in the summer of '88. This is one of Souza's three letters to be featured in the Modern Indian Art auction this May,
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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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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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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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"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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Paresh Maity was born in Tamluk, West Bengal in 1965. He studied at the Government College of Art & Craft, Kolkata and graduated with a Masters of Fine Arts from the Delhi College of Arts. Maity’s preferred medium is watercolor and has made numerous watercolor works.
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Before moving to Bombay, B Prabha studied at the Nagpur School of Art. After moving, she went on to graduate from the Sir J. J. School of Art where she met her husband who was a fellow student. B Prabha made it in the art world at a time where there were very few women artists.
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Raghu Rai started taking photographs when he was 23 years old. In 1966, he joined the staff at The Statesman in Delhi. Henri Cartier-Bresson nominated Rai to join Magnum Photos in 1977 after seeing his work in an exhibition in Paris.
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Born in 1924, Souza is best known for being one of the founding members of the Progressive Artists Group. Francis Newton Souza’s ‘Goan Village’ is an early masterpiece of the Goa-born artist.
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One of the United State’s first landscape artists, Thomas Cole, can be considered as the father of the Hudson River School. Cole romanticized the wilderness of upstate New York. To him, wilderness and nature were meant to be admired and respected. It was never meant to be controlled, tamed, and made civilized.
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Sailoz Mukherjee was one of the pioneering figures of modern Indian art in the twentieth century. During the early forties, when India was at the peak of its struggle to attain her own independence and identity, the art community of the country was striving to locate its indigenous understanding of modernity.
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