Page 15 - S H Raza Rendezvous - A Selection of Works from 1940 - 2000
P. 15

Jala Bindu, 47.5 x 23.5 in, Acrylic on canvas, 1994  I  wrote:  He  nostalgia.  fact,  In childhood.  my  With  child.  young  a  anchor  an  Raza  paints  one  West,  the

















                                                                                                                         done  of  out  to possible,  as  Nandlal  Shri  provided  Bindu  In beginning.

                                                                                                                         it   as       by  The  very
                                                                                                                         was  far         him.
                                                                                                                         Nor  as       Bindu    the

                                                                                                                         west.  sources,  the  to  within  seed,  the

                                                                                                                         the [was] dubbed as being nostalgic because I [was] living in France. It is not a question of nostalgia. This [was] a  my  motif around which he constructed his work, and it became a symbol for the Indian spirit he was looking for. In an  is  13
              this  he  his  in  myself:  your  him  a  in  and  this  in  a  me  to  work  a  He  the  the  India,  garden.  with  in  an  it  be  of  in  to  directed  this  It
              from  conflict,  of  studio,  in  you  gave  plastique,  elements  thinking  from  proportion  given  and  his  him  between  being.  Muktibodh,  visited  BhimBetka,  images,”  to  his  was  he  by  before  should  out  done  oriental  go  to  was  relocate  potential.

              acclaimed  internal  direction  the  my  of  chide  would  see  not  France  sense  le  vital  clear  follows  and  has  perceive  to  that  fact  given  had  synthesis  his  of  Gajanan  He  Singh.  at  these  “All  trip  his  into  way  surrounded  Whether  informed  time  of  It  clarity.  not  was  be  to  attempt one’s whole life is formed in the first few years of one’s existence. 25  who  case,  to  of  full  is




              critically  an  with  privacy  the  I  nights,  do  I  that  all,  of  the  of  of measure  which  order  of  France  Lastly,  ability  the  the lacked a sense of spirituality, the essence of his origin.  modernism productive framework, it had taken him too far from  a  for  spirituality returnedtoIndiatosearchforsources.InBhopal,he  of  Kedarnath  paintings  Gwalior. he writes, “revived and refreshed my memory.” 24  from  objects  their  was  country.  was  work  matter  a  with  home  chic  was  it  conscious  Raza’s  able  was  Bindu


              were  existed  still  content  “In  recalls:  my  Raza?  observed  First  a  third,  sense  vivre: follow a certain discerning quality in life. 23  confronted  looking  was  the  and  poetry  and  rock  and  found  that  France  his  Raza’s  only  was  expressed  return  because  and  in  true  he  home,  The  “

              works  there  wasn’t  He  of  you  are  He  acquisitions.  understanding  Second,  The  a  is  structure.  savoir  also  American  He  the  Nirala,  the  Indore  collected  stones  in  from  not,  it  the  or  certainly  said:  he

              his        silence  paintings!” 22  proposition,  and  of  Raza  roots.  modernism  discovered  stupa,  of  artist  the  studio  or  spirit;  be  that  deliberate  is  journey
              While  period,  simply  practice.  the  “Where  several  certain  painting.  rationality.  form  sense  But  While  his  this  Ajneya,  Sanchi  streets  The  like  His  reminders  India  Indian  would  clarified  weakness  very  This  this  interview,
























              his  with  reads:  to  A  creative  Our  sense  it  itself,  in  that  has  in  both  a  their  and  it,  without  to  is  to  has  the  the  the  d,  or  2  a  have  Clement  (1972),
              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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