Description
Specifications:
Oil Painting on Canvas
36.0 inches X 48.0 inches

This excellent painting – a canvas in oil, reminiscent of the greatart of the late nineteenth and early twentieth century, an art formmaking a subtle departure from the medieval miniature painting ineverything, canvas size, medium, style, technique, perspective,direction and thematic vision, designated as the modern art, and theschool, as the Modern Art School, represents a rich lady, perhaps oneof royal birth or an elite, but essentially a mother, consolinganother, a younger one, in every likeliness her recently marrieddaughter having some problem in her marital life. Not only that therereflects pain and anguish in the daughter’s eyes, or in the gesture ofher tightly clasped hands, in relation to her mother she is justcasually attired wearing a simpler sari and relatively a few ornamentsrevealing her disinterest in everything: the state of a mind inunrest and in deep anguish.In an attempt to dispel her daughter’s pain and relieve her mind ofthe turmoil it is boiling with, the affectionate mother clasps her toher bosom – her inexhaustible support and stay. She seems to beconsoling her by her gesture, besides by her words, as if assuring herdaughter that she has behind her a mother as formidable as a rock. Sheassumes on her lips a smile, and a body-language assuring her daughterthat she is not worried or upset and that such tit-bits do occur inearly married life, and that once the two understood each othereverything would set right; however, whatever her words, or themeaning of her smile or of her gesture, in the corners of her eyeslurks a deep concern and anxiety over her daughter’s future. As forher daughter, the pain in her eyes is deeper than the words andgesture of her mother can dilute. Her fast gripped hands reveal hermood: a turbulent mind but determined to finally decide: this orthat. This aspect of portrait-painting, not portraying merely the physique :the exterior, but also the mind : a person’s interior, his intrinsicbeing, a feature that the painters of the late nineteenth and theearly twentieth centuries added to Indian art, was for certain aEuropean element which infused into Indian art fresh life vigour andgave it unique breadth, especially in portraying the variety ofemotional situations inherent to Indian life – individual and social,and so foreign to the life in Europe. This assimilation of the varietyof emotional situations of Indian life and the technique and emphasisof the European art on portraying a person or situation inside-outattributed to modern Indian painting a place beyond par and itsforemost champion was Raja Ravi Varma, one of the founders of this newart form. Himself from a royal family and hence well versed in courtly lifestyleRaja Ravi Varma brought to canvas on one hand kings, queens, princes,princesses and others, and their regalia, surroundings and courtlyculture, and on the other, a sensitive artist as he was linked tograss-root and hence not unknown to plight of Indian masses, heinfused into them the common man’s woes, worries and concerns not seenin art anywhere ever before. This infusion of a common mother’sconcern into a royal-mother’s portrayal, as attempts this canvas, andattempts it wonderfully well, has been the outstanding feature of RajaRavi Varma’s portraits. This painting, a thematic rendition as also aportrait, a depiction of the tradition as reveals in the ensembles andjewellery of the two figures and in the mother’s concern for herdaughter, as also a departure from it as reflects in the modus oftreating its subject, adheres in its exactness to a painting by RajaRavi Varma portraying this very situation, in its spirit, sensitivetreatment and style and form. As in the painting of Raja Ravi Varma,this contemporary art-piece pays as much attention to portraying thebeauty of form as to revealing the two figures’ minds. The backgroundis dark but not formless. Identically to the mind of the young girl,the darkness in the background is the product of the diffusion offorms, not their absence. This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

Lot 100.A Mother Consoling Her Newly Wedded Daughter

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Specifications:
Oil Painting on Canvas
36.0 inches X 48.0 inches

This excellent painting – a canvas in oil, reminiscent of the greatart of the late nineteenth and early twentieth century, an art formmaking a subtle departure from the medieval miniature painting ineverything, canvas size, medium, style, technique, perspective,direction and thematic vision, designated as the modern art, and theschool, as the Modern Art School, represents a rich lady, perhaps oneof royal birth or an elite, but essentially a mother, consolinganother, a younger one, in every likeliness her recently marrieddaughter having some problem in her marital life. Not only that therereflects pain and anguish in the daughter’s eyes, or in the gesture ofher tightly clasped hands, in relation to her mother she is justcasually attired wearing a simpler sari and relatively a few ornamentsrevealing her disinterest in everything: the state of a mind inunrest and in deep anguish.In an attempt to dispel her daughter’s pain and relieve her mind ofthe turmoil it is boiling with, the affectionate mother clasps her toher bosom – her inexhaustible support and stay. She seems to beconsoling her by her gesture, besides by her words, as if assuring herdaughter that she has behind her a mother as formidable as a rock. Sheassumes on her lips a smile, and a body-language assuring her daughterthat she is not worried or upset and that such tit-bits do occur inearly married life, and that once the two understood each othereverything would set right; however, whatever her words, or themeaning of her smile or of her gesture, in the corners of her eyeslurks a deep concern and anxiety over her daughter’s future. As forher daughter, the pain in her eyes is deeper than the words andgesture of her mother can dilute. Her fast gripped hands reveal hermood: a turbulent mind but determined to finally decide: this orthat. This aspect of portrait-painting, not portraying merely the physique :the exterior, but also the mind : a person’s interior, his intrinsicbeing, a feature that the painters of the late nineteenth and theearly twentieth centuries added to Indian art, was for certain aEuropean element which infused into Indian art fresh life vigour andgave it unique breadth, especially in portraying the variety ofemotional situations inherent to Indian life – individual and social,and so foreign to the life in Europe. This assimilation of the varietyof emotional situations of Indian life and the technique and emphasisof the European art on portraying a person or situation inside-outattributed to modern Indian painting a place beyond par and itsforemost champion was Raja Ravi Varma, one of the founders of this newart form. Himself from a royal family and hence well versed in courtly lifestyleRaja Ravi Varma brought to canvas on one hand kings, queens, princes,princesses and others, and their regalia, surroundings and courtlyculture, and on the other, a sensitive artist as he was linked tograss-root and hence not unknown to plight of Indian masses, heinfused into them the common man’s woes, worries and concerns not seenin art anywhere ever before. This infusion of a common mother’sconcern into a royal-mother’s portrayal, as attempts this canvas, andattempts it wonderfully well, has been the outstanding feature of RajaRavi Varma’s portraits. This painting, a thematic rendition as also aportrait, a depiction of the tradition as reveals in the ensembles andjewellery of the two figures and in the mother’s concern for herdaughter, as also a departure from it as reflects in the modus oftreating its subject, adheres in its exactness to a painting by RajaRavi Varma portraying this very situation, in its spirit, sensitivetreatment and style and form. As in the painting of Raja Ravi Varma,this contemporary art-piece pays as much attention to portraying thebeauty of form as to revealing the two figures’ minds. The backgroundis dark but not formless. Identically to the mind of the young girl,the darkness in the background is the product of the diffusion offorms, not their absence. This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.