Thursday, January 29, 2015

The Story of Painting

The Difference between thinking and feeling could confuse pictures with real things.
Art is always as much concerned with the way people feel about things as it is with the way things really are.Usually both knowing and feeling go to make a picture, and so paintings are different from one another, depending on whether the artist was more interested in what he saw or knew , or in what he felt, so how much he saw ans knew and felt.

How Painting Began:

Cave age: France
In the cave age era mans main source of food was by hunting animals. They had no knowledge of farming and domesticating cattle and depended totally on wild animals for food. small animals meat was always less and therefore to kill a large animal was a need. As the animal like wild buffalo, boars and deers  were big and like any animal psychology man was scared of them as they were of Man.In this situation Man started painting hunting these animals with spears and other weapons used them.This gave him the confidence to go and kill his prey for food. He started believing in the magic of putting these painting and started following this before every hunt. This is evident in the Caves in France they did not paint the caves for decoration but for the power and confidence they got through these painting as these painting were done way inside the cave which did not have much of ambient light and were not found at the entrance as in case would be if for decoration. Even there are instances of overlap of these painted animals as it would be the case after the purpose of that particular kill was over the next kill to be was drawn on the walls over the previous one.

Than as Man evolved he learned to farm and domesticate cattle for food, hunting became more of a game and paintings were made to document and tell a story. Picture alphabets were developed for scripting . These alphabets over time became symbolic representation as we use them today. As need of painting became recording and farming occupation changes urged humans to follow the cycle of crop when to plant and harvest and thus calender was developed by these humans. Even in these circumstances there were force beyond their control the natural calamities which affected their food supply. In this conditions they started believing in the power of spirits after death , that would be helpful or harmful to them.The more important of these natural spirits came to be worshiped as Gods. The Egyptians thought of them as greater rulers like their Kings only to be wiser and who lived for ever.
Similarly they felt the Kings, the rich and wealthy amongs them had an vital soul inside them and after their death they might need their bodied to come back and therefore they started preserving their bodies and making mummies in their tombs and also place their statue in case something happens to the real body. They also belief that the dead will need all his material things aswell so they furnished the tomb as a regular household but they could not keep all,  the rich mans wealth in form of land , animals and servants in the tomb, so they began to paint of the walls with  the images of  servants, the farm lands, cattle etc.

Crete and Greece
Between 2200 and 1100 B.C
Cretans were bold traders and pirates who made up for their poor soil. From the ruins from their palaces it can be seen that they were the richest and the happiest of the western nations.Here the walls had paintings of boar hunting and scene which showed hunting was a sport and painting was done not for the hunt magic or as service to the death but for pleasure and not with fear. The gay and graceful shapes, colors must have made it great decoration for the walls.

Greek and Romans
Cretans were conquered and destroyed by the warlike tribes that came into Greece from North.
Athens - Greek civilization and what is left of their painting is beautiful painted pottery from which we can imagine the lost wall paintings. The Greek paintings were more realistic and round like developed not flat like the earlier Egyptians paintings (rules- face side, body front and stiff and flat figures )

The Roman empire grew as they conquered the Greeks but they had great respect for Greek art and so you can find great Greek influence on Roman Art.


Saturday, June 28, 2014


Art movement that originated in the 19th century by a group in Paris.
Impressionist painting characteristics include relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature.

Alfred SisleyView of the Saint-Martin Canal, Paris, 1870, Musée d'Orsay

Impressionist techniques

  • Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto.
  • Colours are applied side-by-side with as little mixing as possible, creating a vibrant surface. The optical mixing of colours occurs in the eye of the viewer.
  • Grays and dark tones are produced by mixing complementary colours. Pure impressionism avoids the use of black paint.
  • Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and intermingling of colour.
  • Painters often worked in the evening to produce effets de soir—the shadowy effects of evening or twilight.
  • Impressionist paintings do not exploit the transparency of thin paint films (glazes), which earlier artists manipulated carefully to produce effects. The impressionist painting surface is typically opaque.
  • The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object.
  • In paintings made en plein air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense of freshness previously not represented in painting. (Blue shadows on snow inspired the technique.)
Painters throughout history had occasionally used these methods, but Impressionists were the first to use them all together, and with such consistency. Earlier artists who used these techniques include Frans HalsDiego VelázquezPeter Paul RubensJohn Constable, andJ. M. W. Turner.
French painters who prepared the way for Impressionism include the Romantic colourist Eugène Delacroix, the leader of the realists Gustave Courbet, and painters of the Barbizon school such as Théodore Rousseau. The Impressionists learned much from the work of Jean-Baptiste-Camille Corot and Eugène Boudin, who painted from nature in a style that was similar to Impressionism, and who befriended and advised the younger artists.
Impressionists took advantage of the mid-century introduction of premixed paints in lead tubes (resembling modern toothpaste tubes), which allowed artists to work more spontaneously, both outdoors and indoors. Previously, painters made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were then stored in animal bladders.

Pierre Renoir: Oarsmen at Chatou


The Impressionists broke the traditional rules of composition and opened their style to experimenting. In their attempts to capture a given moment, they omitted detail in favor of the overall effect of the painting. They looked at their subjects from unusual angles and often cropped or framed their work in a way that was new to painting. A scene is often captured as if in passing or through the lens of a camera (a new invention at the time that enabled the Impressionists to study movement and gesture in real-life situations).
Edgar Degas: Blue Dancers

In the Stary Night everything swirls at night in St. Remy. It seems that the artist Vincent van Gogh, has expelled his inner conflict onto a canvas.

other examples 

Artist :- Leonid Afremov


Wednesday, May 7, 2014

Gautam Vaghela

Gautam Vaghela (born 1936) is an Indian artist.
His early art education was at the Sir Jamsetjee Jeejebhoy School of Art in Bombay and he later he went on to train in fresco and mural techniques in Banasthali, Rajasthan. From 1962 to 1994 he was associated with the Weaver's Service Centre at the government of India's Ministry of Textiles. He retired as Director, Coordination and Design Exports for the Centres and Indian Institutes of Handloom Technology. The W.S.C's had artists working closely with weavers for the development of modern textile designs, and it was at the Centre that Vaghela interacted with artists including K.G. Subramanyan, Prabhakar Barwe and Ambadas.

Vaghela has illustrated several books including The Story of Dance: Bharata Natyam by Krishna Sahai and Another India: An Anthology of Indian Contemporary Fiction and Poetry with British painter Howard Hodgkin. In more than four decades as an artist and designer, he has exhibited all over India and overseas, including at the 1966 Biennale de Paris and the 1967 São Paulo Art Biennial.

He Received the Padma Shri Award in 1982 and Maharashtra Gaurav Puraskar in 1990.
(source - wikipedia)

 Gautam Vaghela's theme are abstract concepts based on culture. through them takes shape a fantasy which has a theroetical foundation. As one is elevated from the everyday life to a different psychological level, the concepts in the painting unravel through details lent by tradition. The connoisseur into a flower. He is suddenly blessed with an unexpected joy as he acquires the beauty and fragrance of a bloom.

Read more:-
Two Painting from his series MONLOGUE (1973) is at permanent collection display at the National Gallery of Modern Art- Mumbai.

Monday, January 13, 2014

S.H. Raza

Syed Haider Raza Alias S.H. Raza (born 22 February 1922) is an Indian artist who has lived and worked in France since 1950, but maintains strong ties with India.[1]
His works are mainly abstracts in oil or acrylic, with a very rich use of color, replete with icons from Indian cosmology as well as its philosophy.[2][3] He was awarded the Padma Shri and Fellowship of the Lalit Kala Akademi[4] in 1981, Padma Bhushan in 2007,[5] and Padma Vibhushan in 2013.[6]

He became India's priciest modern artist on 10 June 2010 when a seminal work, 'Saurashtra' by the 88-year-old sold for INR 16.42 crore ($3,486,965) at a Christie's auction.

Syed Haider Raza was born in Babaria,[8] Mandla district, Madhya Pradesh.
He completed his school education from Government High School, Damoh.M.P
After high school, he studied further at the Nagpur School of Art, Nagpur (1939–43), followed by Sir J. J. School of Art, Bombay (1943–47),[13] before moving to France in October 1950 to study at the École nationale supérieure des Beaux-Arts (ENSB-A) in Paris, 1950-1953 on a Govt. of France scholarship.[14] After his studies, he travelled across Europe, and continued to live and exhibit his work in Paris.[12] He was later awarded the Prix de la critique in Paris in 1956, becoming the first non-French artist to receive the honour.

S H Raza
Flora Fountain in Monsoon
Signed in English (lower right)
Watercolor and gouache on paper pasted on board
21 x 24.5 in | 53.3 x 62.2 cm
Category: Painting
Style: Landscape
St. Fargeau
  • S H Raza
  • St. Fargeau
  • Signed in English (upper right) and signed and dated in English (verso) 
  • Gouache on paper
  • 1957
  • 19 x 24.5 in | 48.3 x 62.2 cm
  • Category: Painting
    Style: Landscape

S H Raza
Watercolor on paper
19 x 14 in | 48.3 x 35.6 cm
Signed and dated in English (lower left)
Category: Painting
Style: Landscape

Syed Haider Raza, has his first solo show in 1946 at Bombay Art Society Salon, and was awarded the Silver Medal of the society.[9]
His work evolved from painting expressionistic landscapes to abstract ones. From his fluent water colours of landscapes and townscapes executed in the early 40's he moved towards a more expressive language painting landscapes of the mind.
Once in France, he continued to experiment with currents of Western Modernism moving from Expressionist modes towards greater abstraction and eventually incorporating elements of Tantrism from Indian scriptures.[17][18][19] Whereas his fellow contemporaries dealt with more figural subjects, Raza chose to focus on landscapes in the 1940s and 50s, inspired in part by a move to the France.

In 1959, he married French artist, Janine Mongillat, and three years later, in 1962, he became a visiting lecturer at the University of California in Berkeley, USA.[20] Raza was initially enamored of the bucolic countryside of rural France. Eglise is part of a series which captures the rolling terrain and quaint village architecture of this region. Showing a tumultuous church engulfed by an inky blue night sky, Raza uses gestural brushstrokes and a heavily impasto-ed application of paint, stylistic devices which hint at his later 1970s abstractions.

S H Raza
Signed and dated in English (lower right and verso)
Oil on canvas
30 x 28.5 in | 76.2 x 72.4 cm
Category: Painting
Style: Abstract

By the 1970s Raza had grown increasingly unhappy and restless with his own work and wanted to find a new direction and deeper authenticity in his work, and move away from what he called the 'plastic art'. His trips to India, especially to caves of Ajanta - Ellora, followed by those to Benaras, Gujarat and Rajasthan, made him realise his ro and study Indian culture more closely, the result was 'Bindu',[21] which signified his rebirth as a painter.[22] The Bindu came forth in 1980, and took his work deeper and brought in, his new-found Indian vision and Indian ethnography. One of the reasons he attributes to the origin of the 'Bindu', have been his elementary school teacher, who on finding him lacking adequate concentration, drew a dot on the blackboard and asked him to concentrate on it.[23]

S.H. Raza (B.1922)
Aarakta Shyam, 2012
Acrylic on canvas
100 x 100 cm
(39.5 x 39.5 in.)

S.H. Raza (B.1922)
Yugal, 2011
Acrylic on canvas
100 x 100cm.

S.H. Raza (B.1922)
Sagar, 2012
Acrylic on canvas
60 x 60cm.

S.H. Raza (B.1922)
Yoni, 2012
Acrylic on canvas
50 x 50 cm
(20 x 20 in.)

S.H. Raza (B.1922)
Bindu Vistaar, 2012
Acrylic on canvas
100 x 200 cm
(39.5 x 78.5 in.)


S.H. Raza
Acrylic on canvas
59" x 59"

Rajasthan, 1984 , Acralic on Canvas
Rajasthan, is a large dazzling canvas (175x175 cm) in which dramatic blacks, oranges and greens predominate.

From the limited edition of 100
Other editions from this series will also be available for purchase
Please note: the edition number may differ from the one mentioned on the image
Signed and dated in English (lower right)

Serigraphy on paper

Printed area size: 54 x 54 in (137 x 137 cm)
Sheet area size: 60 x 60 in (152.4 x 152.4 cm)
Sold at 
Rs 2,55,000

“              "My work is my own inner experience and involvement with the mysteries of nature and form which is expressed in colour, line, space and light".
- S. H. Raza          ”

The unique energy vibrating with colour in his early landscapes are now more subtle but equally, if not more, dynamic. Raza abandoned the expressionistic landscape for a geometric abstraction and the 'Bindu'.[4] Raza perceives the Bindu as the center of creation and existence progressing towards forms and colour as well as energy, sound, space and time.
His work took another leap in 2000, when he began to express his increasingly deepened insights and thoughts on Indian spiritual, and created works around the Kundalini, Nagas and the Mahabharat.[21]

Thursday, January 9, 2014

Vasudeo Gaitonde

Vasudeo Gaitonde

 Vasudeo Gaitonde was born in Maharashtra of Goan parentage. He received his diploma from the J. J. School of Art in 1948.[1] He died in 2001. Vasudev S. Gaitonde was regarded as one of the most finest and cloistered abstract painter of India. He was the member of the Progressive Artist Group Bombay.In 1971, he was awarded the Padma Shri i.e. the highest award for creative excellence given by the Government of India. Gaitonde experimented hugely with form and shape in his works.  Vasudev had a profound influence of Zen philosophy and ancients calligraphy on him. In the midst of his art work, one could notice the control and the conglomerated structure finely depicted. Gaitonde preferred to enjoy a slow and a meticulous painting process unlike his contemporaries that is why he produced only a few finished works. Gaitonde's use of symbolic element and very few ground lines made his work appear like a flowing river. 
(source wikipedia)

V S Gaitonde
Signed and dated in English and signed in Devnagari (verso)
Oil on canvas
65 x 40 in | 165.1 x 101.6 cm
Category: Painting
Style: Abstract

“The continual work of laying on pigment, dissolving it, stripping it off, and overlaying (like a process of nature) comes to a natural close as the pigmentation comes to a natural conclusion. The painter is at the controls, he decides when the painting has arrived at its capacity to articulate, yet he registers this intuitively: ‘Like music, I know when it is at an end’. So far his visual sensibility has been absorbed in the action of painting. Now it takes over and finalizes. He takes his time about this. He lives with the painting; views it continually” (Pria Karunakar, “V.S. Gaitonde”, Lalit Kala Contemporary 19-20, Lalit Kala Akademi, New Delhi, 1975, p. 16).

Like his other canvases of the 1970s, this large work mirrors the artist’s focus on process and precision, having been slowly developed through the studied application and partial removal of different layers of paint with a roller and palette knife. Here, Gaitonde creates a deep, almost smouldering crimson surface, traversed by several darker horizontals through which his script-like forms, like primitive and undecipherable hieroglyphs, seem to materialize and recede.

Speaking about his canvases, Pria Karunakar notes, “They are sensuous. Each is unified by a single colour. The colour glows; it becomes transparent; it clots. It is this play of pigment, as it is absorbed physically into the canvas, that directs the eye…In the application of the colour itself there is an order. This is hieratic, but implicit. It is never insistent. The colour settles and congeals into a series of approximate horizontals throwing the compositional weight somewhat lower than centre and balancing the left and right of the canvas like the arms of a scale. The order is almost deliberately obscured by the distribution of near–random forms across the surface. These topographical or hieroglyphic forms themselves are made to dissolve into the field like enamel in an encaustic” (Pria Karunakar, “V.S. Gaitonde”, Lalit Kala Contemporary 19-20, Lalit Kala Akademi, New Delhi, 1975, p. 15)

(source :-

V S Gaitonde
Signed and dated in English and signed in Devnagari (verso)
Oil on canvas
68 x 45 in | 172.7 x 114.3 cm
Category: Painting
Style: Abstract

Vasudeo S. Gaitonde, Untitled (1962)




ink on paper

Vasudeo Gaitonde had not very large body of work, and seen as Indian Rotokho.

The most talked about painting by Vasudeo. 
V S. Gaitonde sold at 237 million rupee, the highest fetched price for an Indian Artist at the Christie’s International Plc in Mumbai.