As we trace Bhanu Athaiya’s creative journey back to her roots in Kolhapur, we uncover a fascinating commonality between her, M.V. Dhurandhar, and John Lockwood Kipling. All three artists celebrated the essence of Indian life and craftsmanship, particularly through their depictions of fakirs and artisans.
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This would be an important never-before-seen exhibition exploring six decades of Modernism in Indian art and avant-garde art on the blockchain.
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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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I pen here a few words about the remarkable artist Rathin Maitra. I knew Rathin Maitra by reputation as one of the luminaries of the Calcutta (present Kolkata) art scene. But I met Rathin Maitra for the first time in the 1950s at the Academy of Fine Arts in Calcutta.
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India’s first Oscar winner, Bhanu Athaiya was born in Kolhapur, Maharashtra, in the year 1929. Bhanu came to Mumbai as a teenager to learn painting at the JJ School of Arts. She went on to become the only woman to be invited to and join the Progressive Artists’ Group and the first woman to win the prestigious Usha Deshmukh Gold Medal in 1951 for the artwork titled 'Lady In Repose'.
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In the concluding week of the Gobardhan Ash Retrospective Exhibition, esteemed representatives from the Consulates of Italy, Russia, Germany, and the US honoured the event with their presence. Attention flocked towards the Revolutionary Wall of Artificial Intelligence which unveiled India's first serious modern art profile-picture project made using AI.
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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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As a girl born into the priestly class of pandits from the royal house of Kolhapur in 1929, Bhanumati Rajopadhye may have appeared as an unlikely instigator of dramatic change in the sphere of mass aesthetics. But it is no exaggeration to say that she led the nation’s gaze in the appreciation of feminine beauty, mined the country’s craft and couture traditions, and created waves in the worlds of fashion and consumer desire. One of the questions around Bhanu Athaiya’s vast oeuvre is how do we address her art in the context of her work in cinema and vice-versa.
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Bhanu Athaiya's life story is a testament to the power of talent, determination, and passion. Born in Kolhapur, India, in 1929, Bhanu's artistic journey was shaped by her father Annasaheb Rajopadhye, an amateur artist who introduced her to the world of art. Kolhapur, a significant artistic center in the early 20th century, was a hotbed of creativity and social upheaval, with the local king actively promoting artisans. This environment exposed Bhanu to the likes of Abalal Rahiman, Dhurandhar, and Baburao Painter, who were prominent figures in the artistic circle of Kolhapur. Of particular note, Baburao Painter was a multifaceted artist who made significant contributions to both painting and filmmaking in India.
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This academic exploration serves as an archive, offering a testament to the sought-after portraiture skills artist Atul Bose. Through a collection of newspaper cuttings, we delve into the intersection of artistry and history, with each article representing a chapter in the narrative of this renowned portrait artist. These cuttings, meticulously preserved, provide valuable insights into the recognition and praise garnered by Atul Bose's creations over time, as they secured their esteemed place within museums and government institutes.
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Atul Bose, a celebrated Indian artist renowned for his exceptional portraiture, received his training at Calcutta’s State College of Arts and Crafts and later became its Director. He secured a scholarship to study art at London’s Royal Academy of Arts, where he drew inspiration from English post-Impressionist Walter Sickert, evident in his later works characterised by subtle grey and brown tones.
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Within the sphere of art historical exploration, the oeuvre of Surendranath Ganguly emerges as a subject of intriguing contemplation. A notable practitioner born in 1885, Ganguly's artistic journey found its genesis at the Government School of Art Calcutta, under the guidance of luminaries such as EB Havell and the visionary Abanindranath Tagore. Aligned with the artistic philosophy of Tagore, Ganguly, alongside Nandalal Bose, played an instrumental role in the revival of Indian artistic traditions that had been relegated to obscurity.
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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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First and foremost, each artwork is new and unique having been generated by a mix of layers extracted from the original portraits created in the 1940s. We are enthused to retain the immense colour palette of the artist and the detailed texturing in his drawings. This detailed texturing is also what hugely differentiates this project from the simplistic doodle-based profile picture projects. The project is in collaboration with the Artists' Estate, which includes the due transfer of Copyright for these works to the project (this is huge!). We start from a set of around 50 'Avatars' - which are art works that the artist created in the years 1948-1951.
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Modernism is crucial and important for collectible-grade art, and this principle extends to art in the digital format. This is what shapes our approach and sets us apart. Notably, this endeavor is poised to be India's first serious modern art profile-picture project .
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What could possibly have been in the artist’s consciousness in 1948? Who are these characters? Read on to know more.
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Here are some of the NFT-related topics we discussed at the Soho House, Mumbai on 11th June 2023. We discuss what is an NFT and the the various issues surrounding these. We also introduce Gobardhan Ash's avatars - artworks created between 1948 and 1951 which are similar to the profile picture projects created in the early 2020's. The focus of Gobardhan Ash's avatars was the personality trait, the emotional bonding, the role of the person, and not the detailed features of the person. The goal being to identify the trait by looking at the artwork. The video of the presentation is available here.
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At Prinseps, we are working to change the discourse to redefine the critical period for modernism in India as the first half of the 20th century. Though academia reiterates the same, the art trade seems to have strayed with a focus on the later part of the 20th century. The early 20th century witnessed the uprising of major art movements questioning the status quo.
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Inclined towards donning a baseball cap, adorning his rounded countenance with his distinctive dark goggles, along with his hallmark goatee and long curly locks, Louiz Banks, the legendary Indian jazz musician and composer is renowned as the "Godfather of Indian Jazz", for his immense contribution to the genre over the past five decades. Hailing from a family of six generations of musicians, Banks inherited his love for music from a young age and has myriad contributions to his name in the field of Indian music, unrestricted to jazz.
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I sit staring into the blank canvas. My mind is unfettered, reaching out to embrace the world. All these shapes and scenes flit lucidly through my head, some familiar, others, I know not. Speaking of Modern Art, I must emphasise the fact that the art being created these days, cannot simply be labeled as Indian Art.
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