Page 13 - S H Raza Rendezvous - A Selection of Works from 1940 - 2000
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The artist photographed in Paris                              Untitled, 40 x 40 in, Acrylic on canvas, 1979

              and  the  of  name  the  followed,  Canada,  work. 17  the  to  a  shared  her  her—he  own  talked  working  from  that  financial  the  much  material  in  hand  soon  their  in  stint  Kasten,  Raza  This  close  inspired  an  as  deserves  in  less  faster.  a  as

              Critique  win  to  Raza  a  him  from  UK,  his  regards  he  found  his  in  They  graduating  relationship  seemed  his  However,  that  purchased  his  Karl  invited  university.  in  him  and  plays  is  dries  talent

              la  artist  relieve  made  Invitations  soon  in  whom  He  approach  and,  art.  their  their  it  as  was  his  Janine’s  proposal,  was  temperament  and  acrylic  Acrylic  and  natural
              de            Paolo  the  interested  with          after  Raza  it  of  ask  and           California.  educator  the  bringing  modernism  statement  role
              Prix  did  and               with  Beaux-Arts.  to  clothes,  over  and  years  to  out  frigid.  Critique  improved  to  his  point  at  my  oils
              the  non-French  prize  worries  scene.  Sao  Germany,  became  significant artist’s personal life. As early as 1950, Raza had met  afraid  good  bonded  touch  the  but  and  la  able  accepted  married house in Gorbio where they both had their studios  turning  of  and  course  art, him to experiment with another medium which he thereafter used extensively: acrylic on canvas. Raza  the  as  paramount.  than  Raza’s
              received  first  The  financial  art  and  Venice  Italy,  also  also  Mongillat,  des  École  too  was  for  inspirations  in  kept  over  intense,  come  astute  de  which  was  he  got  University  printmaker  summer  Raza’s  American  “suited  curious  a  is  use  to  of  spoke

              Raza  the  prize.  international  at  in  galleries  USA  was  Janine  the  but  money words, “had a piteous face.”  Janine  their  They  and  more  would  were  Prix  of  boon  and  She  they  until Janine died in 2002. 18  important  the  a  catalysed  with  acrylic  that  This  examination,  is  art  this

              1956  became  coveted  immediate  the  biennales  the  prize  artist  at  studio  beautiful,  no  and  about  methods.  École  became  much  matters  winning  needed  condition  marriage.  thereafter  Another  at  painter,  teach  proximity  Indian.” 19  further  Raza’s  cumbersome  Perhaps  watercolourist.

              In         in    and  and  The  the  had      Raza     the  not                             1962  the  to  event  notes

                                                         paper, 195  a

                                                         in, Oil on  into  But far  had  Indian  started  Cézanne,  after  canvas  Raza’s  tell  can  period—for  visual  his  in  memory  enhancing  obscurity:  the  of  into  fuse  as  space  further  until

                                                         21          thrown  do  Raza    the           new                          of  time,  colour
                                                         x                written—Raza  to  by  turpentine  on  whether  one  a  explored  a  glance  is  recesses  shadows  sense  a
                                                         Untitled  14.5  ,  is  “One  France  masters,  inspired  in  impression  tell  What  this  from  to  out  not  through  each  There  dark  and  the  at  another

                                                                     wrote,  had  George  in  not  the  from  was  He  brush  his  each  to  hard  is  similar.  paintings example Chapelle Bleue or Eglise, Calvaise-Breton  reaching  had  They were executed with the intent to capture the  though,  glances,  picture.  the  into  surfaces  convey  pigment  one  of  addition

                                                                     Soupault  was  “I  ,  Learning  landscapes.  dipped  that  so  It  one.  was  method  at  were  Raza  that  as  through  the  disappear  their  They  patch.  created  the the shape of an image was arrived at.

                                                                     Philipe Another critic, Waldemar George, writing in the late 50s stated ‘  thought”—as  stating  it.” 16  famously  stroke,  fresh  a  working  looking  they  that  territory  watercolours of India.  countryside  generated  grading  buildings  or  night,  dark  something  by delineated

                                                                     reviewer,  Indian  recorded  live  to  and  who  each  was  while  is  and  blue  one  10

                                                                     The  of  was  also  art,  —“constructing”—French
                                                                     positive.  “wellsprings  Raza  French

              were  and  they  their  context,  in  past  his  European  help  —  William  as well as  Eugene  In  Ucello.  show  and  were  the  from  things.  experience  painting

              landscapes  watercolour  mainland;  from  bearings  his  his  acknowledged  modernism  Hoffman,  like  group  first  Souza  show  the  refreshment  other  to  here  began

                 in  Indian  geographic giving them a sense of timelessness.  amalgamated  with  artists  Paulo  his  with Padamsee at the Galerie St. Placide.  to world unknown by these works.” 15  onto  and
              early  the  abstracted  found  He  Western  Hans  de Kooning, Mark Rothko;  and  held  along  reactions  moved  was  I  oils

              his  executed    he  he  experiences       he  1952         drawing  in                                                            Paysage, 24 x 24 in, Acrylic on canvas, 1965
              While  deftly  depicted  were  immediate  Once  France,  learnings.  from  Cézanne,  medieval  Queston  France,  in  Overall  from  already  miniatures!  working
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