Seven Views of Nature

From the glorious, snow-capped peaks of the Himalayas to the tranquil inlets of coastal India, seven artists explore the beauty and complexity of nature. The paintings will be offered at Saffronart’s Evening Sale on 13 March 2018.

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4 “Blue” Chip Works of Art

In our forthcoming Evening Sale, four renowned Modernists explore the potential of the colour blue—each envisioning an imagined, real or metaphorical landscape—in their own unique way.

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Two of a Kind: F N Souza and Lancelot Ribeiro

F N Souza, the “enfant terrible” of modern Indian art, hardly needs an introduction. His less known half-brother, Lancelot Ribeiro, might. As two paintings from important phases in their artistic careers go on auction in June, we look at intersections in their life and art.

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Retracing Ribeiro

Guest contributor Ananya Mukhopadhyay reviews Indian modernist Lancelot Ribeiro’s London exhibition

An exhibition at the Burgh House & Hampstead Museum in London marks the beginning of a year-long programme of events to explore and celebrate the work of the late Indian painter Lancelot Ribeiro. As part of the 2017 UK-India Year of Culture, Retracing Ribeiro is a Heritage Lottery-funded project which will examine the artist’s vibrant and often understudied oeuvre through a series of exhibitions and talks.

Having first travelled to the UK in 1950 to study accounting, Ribeiro quickly became disenchanted with both the London weather and his chosen vocation. While living in London Ribeiro acted as studio assistant to his half-brother, Francis Newton Souza, and also started to create his own works. He eventually abandoned his accountancy course and enrolled in St. Martin’s School of Art. Shortly after his graduation however, the artist was required to leave London for his National Service in the Royal Air Force, somewhat interrupting his artistic development. Following his discharge, Ribeiro returned to India and held several successful solo exhibitions before returning to England in mid-1962.

untitled-blue-and-green-landscape-1961Untitled (Blue and Green Landscape), 1961
Image courtesy Grosvenor Gallery

Renowned gallerist Nicholas Treadwell was to be a great champion of the Indian artists who had settled in post-war London, selling their work door-to-door from his furniture van-cum-gallery space. As part of Asian Art in London 2016, Treadwell gave a talk at the British Museum recalling his dealings with Ribeiro and contemporaries Bakre and Souza as he trundled up and down the country in his mobile gallery. All three artists featured in Grosvenor Gallery’s show Indian Modernist Landscapes 1950-1970: Bakre, Ribeiro, Souza, on view 3 – 12 November at 32 St. James’s Street, London.

rib-untitled-white-landscape-1964Untitled (Red Landscape with Dome), 1966
Image courtesy Grosvenor Gallery

Retracing Ribeiro is a chance to experience the extraordinary range of painterly styles practiced by the late modernist, from rare, naturalistic watercolours of Hampstead Heath, to expressionistic Goan landscapes punctuated with the spires and domes of his childhood. The artist’s pioneering use of PVA mixed with fabric dyes in the early 1960s presaged the widespread uptake of acrylic paints in the years that followed, a feat with which Ribeiro is rarely credited. His careful oil compositions have equally received little attention, in spite of their enduring vibrancy and strength of expression.

The Retracing Ribeiro exhibition will be on view at Burgh House & Hampstead Museum until 19 March 2017, while a heritage display from the Ribeiro archive will be on show at the Camden Local Studies and Archives Centre from 6 February 2017 – 31 March 2017. Forthcoming events include talks by David Buckman, author of Lancelot Ribeiro: An Artist in India and Europe, and an evening of lectures and music at the Victoria & Albert Museum early next year. For more information and a full calendar of events, visit www.lanceribeiro.co.uk/news.htm.

A drive down the French countryside would yield this…if you were in the 1950s…and if you were S.H. Raza

Rashmi Rajgopal picks Raza’s Terre Jaune from the upcoming September Modern Evening Sale.

Lot 20: Terre Jaune

Lot 20: S. H. Raza’s Terre Jaune

On the Surface: Can identify houses, choc-a-bloc. They’re sandwiched between yellow—possibly some kind of field—and a deep blue sky. Nice use of primary colours there. Colour appears in swatches. It appears to be almost emotive.

What Lies Beneath: A countryside? The French countryside. Specifically, central and southern France, perhaps Carcassonne or Provence, which he mentions while referring to the countryside. What’s the yellow bit? Could be either poppy or sunflower fields. The choc-a-bloc homes? Typical of French villages.

Question: How can you be so sure it’s not just any countryside?

The Story Goes:  Many, many decades ago—1949, to be precise, Raza set sail for more artistic pastures. Paris called, with its thriving art scene and multiple art movements fast gaining in momentum. It wasn’t just that. On a trip to Kashmir a year prior, Raza had bumped into Henri Cartier-Bresson. Bresson’s advice to him was something like, “Well, you’ve got talent, but you need to pay more attention to how to ‘construct’ a painting. Why don’t you take a gander at Matisse, Cezanne and co.?” Those words stayed with him, and that’s precisely what he did while at the Ecole Nationale des Beaux-Arts. But what did Bresson mean by ‘construct’ a painting? Put very simply, he had asked Raza to look more closely at why artists did what they did, and how they went about it. Think of it as building something: you lay a solid foundation, then you erect the outer skeleton, then you fill in the gaps to create the final structure and voila!

Of course, education is incomplete if you don’t throw in some travelling for good measure. Raza did just that—travelled around, imbibed as much as he could from what he observed. But it was the French countryside that he took a strong liking to. So it kept cropping up in his paintings, and Terre Jaune is one of those beautifully made scapes.

Sunflowers in Provence Courtesy: shelovesglam.com

Sunflowers in Provence
Courtesy: shelovesglam.com

Then, after a period of “I’m going to construct gorgeous landscapes”, Raza segued into a more “I’m going to spontaneously and emotively create gorgeous landscapes”. Why? Partly because that was the trend doing the rounds at the time, and partly because he kind of ‘evolved’ to this phase. A trip to University of California, Berkeley, pushed him towards it after he encountered Rothko, Hoffman and others.

Or you could also look at it as mastering a particular technique, and then, after years of working on it, deciding that it’s easy; it’s perhaps got some limitations, and it’s time to move on to another way of looking at things.

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