Page 9 - S H Raza Rendezvous - A Selection of Works from 1940 - 2000
P. 9

1946


              and  to  out  be  to  fledging  in  -  of  to  of  time  an  first  was  it  of

              aspirant  were  became  then,  galling  to establish an  schools  organized  the  At  considered  located  their  held  comprehending  sounded,  means  a  courage.” 5  of  5 in, Watercolour on paper,


              young,  artists  what  our  no  was  and  various  was  Indophiles.  hardly  past,  the  fully  time  same  act  an                8.75 x 18 2  .


              of  The  of  and  There  forward,  the  show  were  from  Progressives  by  program  the  required                                 1
              collective  pedagogy.  perception  rule,  look  studied This statement comes with the context of a grand exhibition of  The  1948.  by  efforts  only  the  not  at  was  Untitled,



              a        British  direction.  to  have  in  exultantly  their  objects  1949,  produced  Progressives’]  It  art.  time
              was  of  3  and  the  was  e  “w  Delhi  indeed,  July         their
              too  quo  beauty  from  creative  hour,  in  reviewed  exhibiting  7th  were  [the  modern  of  India

              this  status  and  the  wrote  Lodge  reputable;  On  that  as  of
              art,  the  of  independence  of  Souza mark the transfer of power from the Crown to the People; it exhibited masterpieces of Indian art from over  was  by “Indianness” in history and gave no clear answer to where the art for modern India should be steered to. It  answer.  works  elementary  the  in  7
              of    idea  artistic  need  N  Viceregal  show,  of         paradigms  so  the  this  that  part  art      from  Art  also  his  he  the
              history  challenge  very  the  the  F  miniatures—and  considered  art  to  aimed  collection and realizing an ideal challenge to the existing academic art, but by experimenting with paint.  “As  the  do  T o  to  in  western  “felt  traditional  Leyden,  sympathetic  Leyden  another  came  the  Raza  in  partition


              the  to  and  gained  renewed  heritage;  principles,  the  at  Delhi  a  notes,  within  answer  element  of  Pai,  their  become  a  von  of  of  became  Langhammer  usher  a
              in       had  a                      hardly  The               context.    copy  Laxman  to  von  wrote  views  who  struggling  only  triggered
              groups  wanted  who  sentimentalism,  India  needed  artistic expansive territory for modernity to accentuate in India.  guiding  organized  sculptures,  were  Delhi.  Progressives  forward  Dalmia  themselves  own  Progressives’ new Indian art didn’t go unchallenged. Some artists  Indian  any  a  only  like  shedding  attempt  Rudi  India,  criticisms were to have a decisive influence on the lives of the  the  were  Langhammer,  and  India.  of  young, studio to work and gave him an introductory lesson  not  did  also  it


              revolutionary  artists,  mimesis,  aestheticism.  definitely  primordial  group’s  the painting…to arrive at a vigorous synthesis.” 4  art  medieval  years—bronzes,  modernists  in authorities  the  that  putting exhibition,  Yashodhara  rooting  their  in  these  the  less,  note  to  failed  it  in  saw  others,  Still  were  their  in  fast of the international movement.” 6  support.  also  of  Times  The  show. 7  as modernists,  Walter  Vienna  of  Times  The  a  offered in western modernism and stylistic analysis. But t  mid-1940s,  independence  bloodshed.






              many  experimental  as  most  our  to  Elaborating  and  the  show,  the  question  this  historian  at  attempt  re-inventing  the  critics  and  all  modernism.  Progressives  too  was  there  The  for  this  of  European,  Academy  of  generously  of  of  and savage

              Like  critique  accepted  republic  respect  classical  5000  the  by  art  was  Bombay  art  As  an  None  and  at  art  the  moorings  But  critic  review  Indian  the  Director  period  felicity























                                                                                                 the  so  his  asked          a  at  came
                                                                                               Born in 1922 in Babaria, a small village in Madhya Pradesh, S H Raza grew up in the midst of verdant forests
                                                                                                 –     on          understand  pursuing  age  Bombay
                                                                                                 house  became  merged  Jhariya  t the start of the  ‘Pushpanjali’  of  years  the


                                                                                                 his   e           not     actively             .
                                                                                                 past  hinterland  course  Nandlalji  could  was  review  fourteen  co-founded
                                                                                                 gushed  India’s  due  in  Shri  “I  stated  he  that  cultural  only  Raza


                                                                                                 Narmada  of  gestures  and  Mandala,  in  Raza  note  to  the  start,  was  He Raza joined the Nagpur School of Art, and in 1942 he  H  S




                                                                                                 The   transcended,  school  interview  worthwhile  to  1936. 2  graduating,  attributed to the overt sentimentalism in Indian art

                                                                                                 six.  subliminal  his  of Shri Nandlal drew a black dot on the white wall of the verandah and asked Raza to sit down and  an  of  him  in  Upon
                                                                                                 turned  the  inadvertently  course  is  It  inspired  painting  Art. Progressive Artists’ Group, along with Francis Newton Souza in 1948. The group also included Maqbool Fida Husain, Krishanji Howalji Ara, Hari Ambadas Gade, and Sadanand K. Bakre as its members. PAG did not align  6


                                                                                                 he  and  headmaster him to stay back after class. Raza was a frisky kid and by his own admission ‘a bad student’,a  the  proactive.  turn  and  of
                                                                                                 after  forest  it  that  the  during  in  literature,  School  J.

                                                                                                 moved  family  the  river,  the  mindscape  his  old  years  eight  later  years the motivation [of this exercise], but I obeyed.” 1  artistically  was  he  which  teens,  his  poetry,  to that point in time. After completing his schooling,  J.  the  at  enrolled  hich they

                                                                                       Untitled, 10 x 14.5 in, Watercolour on paper, Circa 1940  his  where Mandala,  in  of  force  life-  perennial  in entrenched  deeply  was  he  When  .  canvas  detention,  Many  point.  the  on  focus  adult  young  a  as  Even  during interests  literary  devoted  was  that  journal  he  where  Bombay  to  with the prevalent sensibility, w
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