Superbly Self Conscious

It is a fabulous show: the season’s first grand offering at the Centre for Contemporary Art. Francis Newton Souza is represented by seven large landscapes (oils), six small heads, 12 works in acrylic on paper, 15 drawings bathed in chemicals and 16 drawings, two of which were done in 1979. Our response

A Post-Modern Symbol

Subramanyan, a teacher of artists, who invented a personal narrative in miniature format.

K.G. Subramanyan, whose works in miniature format (done on primed paper in gouache) are displayed at the Centre for Contemporary Art, is a teacher of artists; a status no painter can claim since

The Fall Of Man

It indeed is a fabulous show but not quite the show to match with Francis Newton Souza’s genius. The enthusiasm it has generated is also not wholly unexpected, the; provincial world of art has a special relationship with its expatriate artists, and for an expatriate there is a ‘ready’ and ‘dynamic’

Birth of Many Husains

It may sound odd to talk about the bridge builders in the Arts but in this jubilee year of Independence, it may perhaps be legitimate to be nostalgic about them.

Of the many bridge-builders, M. F. Husain is an eminent patriarch. And not only that: he could be the last of the bridge-builders

Husain Sugar

The Husain painting is not for judging because judging implies comparison, which divides opinions. It is also because Husain has very little objective visual wisdom, although his painting looks concrete, well-drawn and sweetly-painted. It is glossy like the toy, the rocking-horse of childhood,

Husain Retrospective

It is a rare experience, this Husain retrospective mounted by the Art Heritage at the Lalit Kala Gallery where over 100 Husains fill the first floor as well as the foyer space. Indeed not an ordinary exhibition, this first retrospective New Delhi art lovers are exposed to. (Two other Husain retrospectives

Interface between Art and Non-Art

Speaking of the formal difference, installations are of two types: one is holistic and the other hierarchic. Vivan Sundaram’s approach to his work (seen at Buddha Jayanti complex some time ago) can be described schematically as holistic: which is to say, it is relational. Rimzon’s, on the other hand,

Of figures and mirrors on the wall…

The fact that his signatures were only ones to be recognized in 19^th century India, placed on the first, upper-class, English-educated, self-taught Indian artist, the credit of starting easel painting here, says K.B. Goel in Delhi. The trend still continues.

Ravi Varma’s greatest