ABOUT THE EXHIBITION
It is a pleasure to inaugurate a new chapter in Gallerie Nvya’s journey, at the Triveni Kala Sangam, with the works of seven great modern Indian masters: FN Souza, Akbar Padamsee, KG Subramanian, Jogen Chowdhury, Manu Parekh, Ganesh Haloi, and KS Kulkarni. Living as we all are, in times of uncertainty and introspection, the artistic presence of these greats is a reaffirmation that it is thoughtful, committed, patient work that survives time and trends.
All of these artists were born in the early decades of the 20th century, a century that saw immense churning in art practice and philosophy. They worked when there was neither a thriving art market to guarantee financial reward, nor easily-available platforms for promoting oneself and one’s work. Instead, even as they engaged with their subjective impulses, social milieu and cultural inheritance in their art, they also contributed as writers, teachers, theorists and institution-builders – the quintessential still waters that run deep.
KG Subramanian expanding the ambit of art from the studio to the artisan’s village, letting all the plurality of Indian forms of expression enter his own multiple practice: paintings, murals, pottery, sculpture, lithographs, book illustrations, writing on art, and creating a unique pedagogic journey in Santiniketan and Baroda. Akbar Padamsee working from a space of deep contemplation, writing prolifically, exploring oils, plastic emulsion, watercolour, sculpture, printmaking, and photography. FN Souza, founding the Progressive Art Group after independence, making the most assertive interventions in Indian modern art and writing brilliant essays. (To the extent greatness can be measured in economic terms, Souza’s paintings have been among the highest sellers in the last few years). Jogen Chowdhury, practising as artist, writer, teacher and politically engaged citizen.
Deeply emotional personal experiences informed the evolution of artists such as KS Kulkarni who had to paint signboards from the age of 11 when his father died, or Jogen Chowdhury and Ganesh Haloi, who were dislocated from Bangladesh at the time of partition; after his graduation Haloi spent 7 reclusive years sketching the paintings in Ajanta Caves for the ASI. Manu Parekh went to Banaras to process his father’s death and ended up painting the city for decades, creating extraordinarily luminous skies that you can glimpse on these walls.
With this exhibition we celebrate these radiant worlds of visual experience, of thought, imagination, skill and commitment… these legacies that continue to invite fuller assessment.
Tripat K. Kalra
Watercolour on paper 15" x 23"
Drawing on paper 19.5" x 12.5"
Watercolour on paper 16" x 16"
Acrylic on paper 15" x 22"
Ink on paper 9.4" x 6.3" (Each)
Mixed media on paper 11.5" x 16.5"
Girl with Mirror
Dry pastels on paper 28" x 20"
Drawing on paper 20" x 14"
Still Life (Flower Vase)
Ink and Mixed media on paper 22.5" x 30"
Pen & ink drawing on paper 23" x 29"
Acrylic on canvas 25 "x 25"
Gouache and charcoal on paper 15" x 11"
Watercolour on paper 9" x 8.5"
Acrylic on canvas 17.5" x 22"
Enamel on iron 24"x 24"
Oil on canvas 30" x 40"
Flowers in Moonlight
Acrylic on canvas 40" x 60"
Temples in Moonlight
Acrylic on canvas 24" x 36"