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From 1947 AD. literature, science & arts have, developed new techniques in almost all, branches of artistic activity. Rabindranath, Tagore is said to be the first man in India to, paint in Modern Art. Contemporary Indian Art, has travelled a long way since the days of Raja, Ravi Varma, Amrita Sher-gil, Abanindranath, Tagore & his followers. Let us classify the major, landmarks of the modern Indian art scene :
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Raja Ravi Varma was the, earliest to blend the Indian, traditions with European, techniques that included, oil paint & easel painting., He recreated the themes of, Hindu mythology & also, made oleographs of his works resulting, in a widespread reach to the masses., The portrayal is so brilliant that we still, imagine the gods & goddesses just like, the ones shown in his paintings.
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THE BENGAL, SCHOOL of ART, Bengal school of art in the early 20th century drew, inspiration from the rich cultural heritage of India., The Bengal school artists were the revivalists who, brought a Renaissance in Indian art when it was, about to be lost & kept into museums as no longer, alive. They brought back respect to the Indian art, which was battered by the Britishers., , .
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Amrita Shergil, a contemporary of, Bengal school artists was one of, the main exponents of Western, techniques who developed a new, aesthetic in her own interpretation, of Indian Culture. Her art clearly combined, Indian & Post-impressionistic particularly that of, Gaugin (a post-impressionist artist of France). She is, the most popular Female artist of the country till date.
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CALCUTTA GROUP, , Another major change came with the formation of the, "Calcutta Group’’ of artists in 1943 against the background of, Bengal famine that year which killed thousands of people., The year 1943 was the time of social & political disturbance, caused by the effects of World War II & the widespread, political & communal violence., The founders of the group were Prodosh Dasgupta, Gopal, Ghosh, Rathin Maitra, Nirode Mazumdar, Subho Tagore &, Prankrishna Pal.
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THE, , PROGRESSIVE, ARTISTS GROUP, , The even bigger rebellious movement of Modern, painting originated in Bombay shortly after 1947, A.D. by the name Progressive Art Group. It was, formed to escape the limits of both colonial, academic art & the ‘nationalist’ revival of the, Bengal School. They wanted to express their, originality in a modern style & explored the, contemporary international art scene. Its founders, were Francis Newton Souza & S. H. Raza. M. F., Husain & Manishi Dey were the early members., They explored a variety of style including, Expressionism, Cubism, Primitivism, Surrealism &, Expressionism. Almost all of the major artists of, India in the 1950 were associated with the group., Prominent among them were Akbar Padamsee,, Ram Kumar, Laxman Pai, Tyeb Mehta, K. H. Ara,, Jahangir Sabavala. Satish Gujral. V. S. Gaitonde,, Krishen Khanna & Mohan Samant.
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In 1949, Delhi Shilpi Chakra came into, being with founders B.C. Sanyal, Pran, Nath Mago, Kanwal Krishna, K.S., Kulkami & Dhanraj Bhagat., This group gave a new life to artists who, migrated from Pakistan after partition., By their efforts, Delhi & Mumbai which, did not have even a single gallery in 1947,, were home to several commercial art, galleries by the Sixties.
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CHOLAMANDAL, Meanwhile in South India, artistic practices &, education were also on a parallel path towards, "modernism' when reputed painter & sculptor D.P., Roy Chowdhury came down from Bengal. In Madras,, KCS Paniker formed Cholamanal artists' community, in 1966.
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PAINTINGS
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, , , , : Oil on Canvas, : Mid 19th Century A.D., : Lalit Kala Academy (New Delhi)
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It is mostly the play of textures that has a major role to bring about the desired effect.
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Medium : Tempera (Water Colour), Period, , : Modern, , SUBJECT MATTER : This painting depicts a, mother holding her child. The subject matter, matches totally with the title of the painting.
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HALDI GRINDERS, -Amrita Sher Gil, PERIOD, , : Modern (Contemporary), Circa : 1940 A.D., MEDIUM, : Oil colours on Canvas, COLLECTION : National Gallery of, Modern Art, New Delhi
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MOTHER TERESA, - M. F. Hussain, , PERIOD, MEDIUM, SIZE, RIGHTS, , :, :, :, :, , 1988/1989 A.D., Oil colours on Canvas, 2330 x 1280 cm., National Gallery of Modern Art
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MOTHER TERESA - M. F. Hussain, DESCRIPTION WITH COLOUR SCHEME: The painting shows a faceless figure with flowing drapes of the blue, bordered white sari that was worn by Mother Teresa. The sari is actually symbolic of the uniform of the nuns of the, orphanage and homes run by Mother Teresa. The Mother is supposedly sitting under the pavilion of a Church,, which the artist has randomly divided with two yellow lines on his canvas. A sick person is on her lap and she is, leaning protectively (gently) over his body. The left extended palm is somewhat similar to abhay mudra to assure, the needy to have faith in the healing power of God. The black colour below the covered head in place of the face, merges with the background., The faceless entity is to establish her universal motherhood for which caste, colour or religion is unimportant. It, also indicates complete rejection of ego. a quality of this extremely selfless person. The spread of her sari, shelters a homeless child on the right and on the left, a naked infant orphan is held by her replica. The colour of, the infant and the saree in the left panel (formed by yellow line) is ochre. It actually signifies her as one with, whoever needs help. There is one more saree covered head behind the mother's head, almost similar but without, the blue border. It could probably be for symbolising the other nuns who also did the same kind of work for the, needy. The sick man is painted with Indian red colour., The brightness of the saintly white saree is brightening up the whole spirit of the composition. The mother rises, as a guardian angel against the dark and brings light to the lives of the poor and the needy. The figure of Mother, Teresa acquires the position of a universal mother, while the figure of the old man is helpless and lies in her lap., The saree with a blue border that covers her head and draped around her, the strong play of colours with black,, has influence of Roman stained glass and mosaics. In these semi-abstract works, Husain repeatedly uses, elements from European Renaissance painting and sculpture. For instance "Le Pieta" (figure below) by, Michaelangelo where Mary holds the dead Christ in her lap., Husain who is associated with modernism is also called the "Picasso of India. The painting speaks volumes about, Husain's command over bold, vigorous lines and forms. His lines are sharp and full of expression. Mostly colours, are flat, light and dark tones can be seen at a few places. This painting series proves the level of maturity and, strength of expression with minimal forms that he acquired over the years.
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Kamlesh Dutt Pande, , : Oil on Canvas, : 1980 (Modern Period), , , , , *, , SUBJECT MATTER- The painting is based on the social evil of dowry, and bride burning plaguing our society from the times immemorial., from, , from above
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OF, MODERN INDIAN, ARTISTS
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PERIOD, : 1955-1970 (Printed in 1962) A.D., MEDIUM : Etching, COURTESY : The National Gallery of Modern Art, New Delhi, Whirlpool has an abstract subject matter, with complex textures, derived from natural organic forms. The, complex colour tones are a result of thoughtful outlook towards the, endless mysteries of nature creating a unique landscape of colour., , DESCRIPTION :, , 1. fine, 2. abstract, 3. first to explore, 4. the state of being thick, sticky, and semi-fluid. 5. a design incised or engraved into a material.
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PERIOD, , : 1982 A.D., MEDIUM, : Lithograph, COURTESY : All India Fine Art & Craft, Society, New Delhi
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DESCRIPTION :
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-, , PERIOD, : 1955-1970 A.D., MEDIUM : Etching & Aquatint, COURTESY : The National Gallery, of Modern Art, New Delhi, , SUBJECT MATTER : This print, is a visualization of the artist’s, emotional response to the pain &, suffering of the poor & deprivedthe wounded humanity. It is about, the physical suffering of the, victimized & the wounded, with no, hope of rescue in the world, or no, other.
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DESCRIPTION :
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PERIOD, : 1965-1975 A.D., MEDIUM : Etching, COURTESY : The National Gallery of, Modern Art, New Delhi, , SUBJECT MATTER : This etching shows, Devi as a power of Worship & the, hidden power of Kundalini (a form of, “physical energy” that we all, possess).The Yoga Upanishads, describe that Kundalini is lying, coiled at the base of our spine,, represented as either a Goddess or a, sleeping serpent to be awakened.
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PERIOD, : Modern., MEDIUM : Lithograph, COURTESY : The National Gallery of, Modern Art, New Delhi, , SUBJECT MATTER : It is a, depiction of village life basing, on artist’s childhood memories, of rural & tribal liveliness. A, native of an Andhra village, the, artist has presented a rustic, version ofa man, a woman and, a tree.
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DESCRIPTION : ‘Man, woman and tree’ is one of the finest, graphic prints of k. Laxma Goud. The print of this etching and aquatint, work is taken on a very smooth paper in which a couple is shown, staring at each other in the midst of beautiful shrubs. the man is shown, partially hidden in the groove of three trees, standing in the triangular, queue. Only upper portion of his body is visible. a very simple, young, woman is shown in a saree of dotted prints. she is wearing a nose pin,, a “Mangalsutra” and two bangles in each hand. three -fourth portion of, her body is shown in aqua colour. The fourth tree is shown behind her., the face expression of woman and man are innocent and caring as if, they were doing both real job of parenting nature. The message of this, print is again universal which narrates that the co -relation between, human and nature must be maintained for the survival of mankind.
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OF, MODERN INDIAN, ARTISTS
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PERIOD : 1959 A.D., MEDIUM : Bronze & Cement, COURTESY :The National Gallery of, Modern Art, New Delhi
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DESCRIPTION : This is an extraordinarily realistic bronze sculptures, made by D. P. Roy Chaudhary, a famous artist of Bengal school., In this sculpture four labourers are engaged in the task of moving a block of stone with the, help of wooden logs/staffs. These four figures are perfect anatomical studies of men, engaged in an extremely difficult task of lifting a huge rock. These labourers are wearing, only loin cloth and two of them have covered their heads with a piece of cloth. They are, engaged in their work with full force, Two are bent forward and applying force with their, hands, while the remaining two are using the wooden staffs to uproot the boulder from its, base. With their action and strained body muscles one can feel their strength and effort., Each muscle of the body shines in sweat and physical exertion., This splendid sculpture depicts an inspiring example of teamwork of labourers engrossed, in a strenuous work. The most distinctive features of this group are its universal appeal and, rare quality of mobility. The strong muscular bodies of the men moving the boulder, their, energetic postures make this an extremely expressive work., This statue depicting the dignity and triumph of labour exemplifies the soul and sweat of a, back-breaking effort. An important landmark in Marina Beach, it is also a tribute to the, labour class. This aesthetically pleasing work of art will remain an outstanding example of, contemporary Indian sculpture.
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PERIOD : Modern, MEDIUM : Bronze, COURTESY :The National Gallery of Modern, Art, New Delhi
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DESCRIPTION : There are three standing figures of a family with their gloomy faces, showing agony and distress. A family of three-Man, woman and child from the, downtrodden society has raised their hands towards the sky. The child has also, raised his right hand up but his left hand is down. The figures are tall and, elongated with simplified planes. Faces are mask like hollow and distorted,, suggesting their unending suffering and exploitation. Their nakedness, symbolizes the misery, the shapeless; lengthened limbs mark the poverty. The, inclusion of the child in the same action is to emphasize the continuous, oppression for generations., The theme of this Sculpture is to suggest the painful cries of suffering humans by, making hollows in their heads. Their helpless expressions are shouting to the, world how through ages they have been victims of political and social injustice., The crudeness of the material that is bronze in this sculpture, helps in portraying, symbolically, the ugly reality of the mental and physical torture that these, neglected humans have to undergo., With abstraction in portrayal, Sehgal became one of the leading exponents of, modernism in Indian sculpture. His social themes turned him into a crusader who, tried to make the cries of the victimized and downtrodden heard through his art.
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PERIOD : 1970s (Modern), MEDIUM : Wire & Tin, Oxidised Copper, LOCATION : The National Gallery of, Modern Art, New Delhi, , SUBJECT MATTER : A modern/abstract, sculpture of the Hindu God Ganesha.
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PERIOD, : 1955-1970 (Printed in 1962) A.D., MEDIUM : Etching, COURTESY : The National Gallery of Modern Art, New Delhi, The sculpture is about different facets of a, woman.Its four faces describe the different aspects of womanhood., , DESCRIPTION :
