Gandharaartgallery

The Living Eye: Art of the Departed Masters

Date: 16th of August 2022 - 31st of August 2022

K. G. SUBRAMANYAN ORIGINAL DESGIN FOR A BOOK COVER WATERCOLOR 10X15 IN END TO END 13 X19.5 IN 1988
PARITOSH SEN_RAVANA MOURNING THE DEATH OF HIS SON 1_ 40 x 36 INCHES _2006
PARITOSH SEN OIL ON CANVAS 18x24 IN
Sunil Das_Charcoal on paper_29x21.5 inches_2003
SUHAS ROY ACRYLIC ON CANVAS, 30X30
SOMNATH HORE_PEN & INK ON PAPER_7 X 8 INCH_1889
SOMNATH HORE 5X7IN INK ON PAPER
Shymal Dutta Roy_16.5 X 18 Inch
ROBIN MONDAL_KING & QUEEN_ OIL ON CANVAS _ 20 X 24 INCH_1986
ROBIN MONDAL Acrylic on magazine paper 11X15 inch
PRAKASH KARMAKAR_ PEN AND INK ON PAPER_22 x15 INCH
PARITOSH SEN_ SELF POTRAIT_40 & 60 INCHES_ACRYLIC ON CANVAS _2006
GANESH PYNE _PEN AND INK_8.5 X 11 INCH
DHARMANARAYAN DASGUPTA_15 X 30 INCH_TEMPARA ON CANVAS_1990.
BIKASH BHATTACHARJEE_LITHO PRINT_ 17 X14 INCH_1977
BIJAN CHOWDHURY_OIL ON CANVAS_6 X 7 INCH
NIKHIL BISWAS_HORSES_PEN & INK_6 X 10 INCH_1961_
BIMAL DASGUPTA_UNTITLED_OIL ON CANVAS_30 X24 INCH_UNSIGNED
GANESH PYNE_UNTITLED_PEN & INK_3 X 5 INCH_1991_
BIKASH BHATTACHARJEE_MIXED MEDIA ON PAPER_29 X 21
SUNIL DAS_UNTITLED_WATER COLOUR_12 X 9.5 INCH_2000_
SOMNATH HORE_UNTITLED_PEN & INK_8 X 6 INCH_LRE_26. 09. 1979
SOMNATH HORE_UNTITLED_PENCIL ON PAPER_8 X 12 INCH_06. 01. 1981_UNSIGNED
KARTICK PYNE_WATER COLOR ON PAPER_21 x 19 INCH

 

The past permeates our present in silent and sinuous ways. A collective cultural memory underpins the manners in which art is created and appreciated, and each creative moment holds within itself a million interfaces between memory, history, and the presentness of experience. There is both collusion and collision thus, with the works of our departed masters, and the aesthetic translations of experience they arrived at; the many-layered presence of time and timelessness in their works recalibrate our negotiations with our transformed present which celebrates the fast, the fleeting, and the transitory. It is probably time to connect anew with the slow times. Enduring times.

Most of the artists are from the sixties- those turbulent years of ecstasy and regret- and they carried deep within images of those times when a young nation was still trying to define itself, and a partitioned state was striving to come to terms with its testament of loss. In many of the works we get to encounter the broken, brittle human, even grotesque at times, in possession of an unwanted inheritance; in certain works there is also the presence of tenderness and a moment of communion, which is not a binary to distress, but an ingrained obverse which interrogates the very possibility of fulfillment. And it is this many-stranded translation of experience that speaks to us today.

Anuradha Ghosh