He was one of the most significant painters of our age, yet he shunned the limelight. A reclusive master, who preferred the poetics of silence. Turning his gaze inwards, he sought a meditative space instead, expressing himself in the play of line, light and colour.
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This text is by Gieve Patel published in Swaminathan’s journal Contra’66. It is a review of ‘Two Decades of American Painting’, a show held in Delhi, in 1967.
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Dating back to 1954, this catalogue is truly a collector’s priceless item, the lead essay written by none other than the Poet Laureate Rabindranath Tagore, himself.
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Artur Isenberg in his introduction to ‘10 Contemporary Indian Painters’ wrote: "This exhibition provides additional evidence that India’s contemporary painters speak the same language as their fellow artists in America and elsewhere."
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Souza’s prose follows a trajectory similar to that of his painting. It starts off bold, clear and contrary; turns violent and beautiful, with the coiled energy of a venomous serpent; and ends bloated and rather jejune, though retaining its cleverness and a kind of honesty
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The Oratory building sits at the northern edge of the iconic and imposing Liverpool Cathedral. Built in the extravagant Greek Revival style, it serves as the perfect home for a newly commissioned work by Austrian filmmaker Mathias Poledna.
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In the history of art one of the most important developments of the twentieth century may be the emergence of a new humanist Asian art. Or will it be the opposite that is remarkable? Will the desperately practical needs of Asia prelude art for the first half-century of their independent power?
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While the convergence of filmmaking and a gallery-based art world in India appears as a cutting-edge and recent phenomenon, it was leading artists in the mid-late 1960s who pioneered the trend.
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My parents, architect Habib Rahman and classical dancer Indrani Rahman, moved to Delhi with my sister Sukanya from Calcutta in 1953 on the urging of Jawaharlal Nehru (he brought my father to the Central Public Works Department from the West Bengal PWD).
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The quotient of ‘modern’ in Indian art has woven itself around some very potent and receptive expositions. Tracing a transverse path through the delicate transition from the Pre to Post-Independence periods, TAKE on art focuses on the period of 1950-60s.
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