Page 14 - S H Raza Rendezvous - A Selection of Works from 1940 - 2000
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his  this  from acclaimed  critically  were  works  his  While  he  conflict,  internal  an  existed  still  there  period,  with  his  of direction  the  with  content  wasn’t  simply  reads:  in  studio,  my  of  privacy  the  “In  recalls:  He  practice.  to  myself:  chide  would  I  nights,  my  of  silence  the  A  your  in  you  see  not  do  I  Raza?  you  are  “Where  creative  him  gave  France  that  observed  He paintings!” 22  a plastique,  sense  le  all,  of  First acquisitions.  several  Our  in  elements  vital  the  of understanding  certain  and  thinking  clear  of measure  a
              Already  engage  which  color  of  psychological.  losing  configurations.  color.  a  to  to  consequences  way  s ound  consequences  re  we  provoking  thinking  puts  That  painting  create  of  job  of  sections  unification  perio  this  Pluie-196  1963  predominantly

              Rothko.  to  colour,  relation  is  without  its  of  realm  refer  end  an  not  same  the  o f  Raza  in  response;  clear  Hoffman  as  works  their  ground.”  a  of  to  skilfully  The painter is therefore similar to that of an orchestra conductor, who has to  various orchestra into a unified sound. That  This  music.  from  La  -  late sunset, while ‘The Black Sun’,  what  L ’inconnu  was

              Mark  opportunity  of  reciprocal  phenomenon  with  mystic  Hoffman  is  psychological  in  and  on  rest  or,  create  “creative  plasticity  effect.  the  is  work  Sous  Meneaux  à  Therefore  like  Raza

              and  the  theory  surreal  accordance  the  and  Raza  modulation  viewer,  modulation  psychological  the listener.  Hoffman  interested  psychological  paintings  rationality,  the  controlled  desired  balance  unification  artist’s  Jardin  Fenêtre n 1968, the black dot appeared in one such Hoffmanesque  discoveries  Paintings  1975,
              Francis,  had  he  Hoffman’s  expression…the  new  the  of  in  through  Both  This  has  the  they  losing  say,  be  is art.  The  e.g,  holds equally true for Raza, “his paint surfaces breathe.” 21  Rothko.  Until

              Sam  now  with  This  sphere  fear  or  us  to  works.                                                          his  of  by    canvases.
              Hofmann,  and  artists  agreed  plastic  order.  the  into  joy  awakens  comes entire being is nourished by it. The mystic quality of color should likewise find expression in a work of art.’ 20  Raza’s  modulated.  onset  the  inspired with their large swath of one color—in this case red—are particularly reminiscent of Rothko. This was also  Raza’s  12

              Hans  these  intuitively  to  limited  mysterious  color  It  visually  in  be  can                          is a study in red and black, the shades evocative of a  proclaim’s  series  on concerned with painting his inner feelings onto a canvas, which he didn’t so much as paint but construct.

              of  with      expand  us.  in  it  resonate  that                                                                        another
              works  He  not  are  more  a  to  moods  experience  to  physical                                               lines,   was   appearance

              the  similarities  manner.  color  of  order  certain  we  began                                                and  grids  paintings  its
              discovered  aesthetic  systematic  of  phenomenon  in  required  stimulates  as  world  Hoffman  plastic—anything  lot in common with Hoffman’s paintings. Later i  defined Greenberg once remarked about Hoffman,  these  made

              Raza  showed  a  in  possibilities  a  is  Color  whole  by  noted  or                                       T erre Rouge’  well  its  with  poetry  when

              California  paintings  works  creative  produces  sensitivity  ground.  the  fact,  points  plastique  Bindu, 31.5 x 31.5 in, Acrylic on canvas, 1987  canvas: ‘  with  Simultaneous  time

              In    their  ‘The  color  high  In  The  of                                                                     along          the
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