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Born on August 13, 1915 in Lahore, Satwalekar is considered to be a doyen of Contemporary Indian Art. He had rich legacy left behind by his father, Pandit S. D. Satwalekar, a renowned turn-of-the-century painter and a Vedic scholar. Determined to carry forward the legacy, Madhav Satwalekar first studied at Sir J.J. School of Art, before going to Europe (1937 to 1940) to study at Florence Academy (Italy), Slade School (London) and Academic Grand... Born on August 13, 1915 in Lahore, Satwalekar is considered to be a doyen of Contemporary Indian Art. He had rich legacy left behind by his father, Pandit S. D. Satwalekar, a renowned turn-of-the-century painter and a Vedic scholar. Determined to carry forward the legacy, Madhav Satwalekar first studied at Sir J.J. School of Art, before going to Europe (1937 to 1940) to study at Florence Academy (Italy), Slade School (London) and Academic Grand Chamiers (Paris). He won the Mayo Medal in 1935.

Portrait and landscape painting, traditional mythological subjects both in oil and watercolor, used to enjoy public patronage and the everyday life of the common man was also finding an expression in art when Satwalekar started. Sophistication of both oil and watercolor was seen in the superlative achievements of the likes of A X Trindade, Agaskar, and Fernandes. Coupled with British academism, decorative indigenous trends were also influencing these artists as they sought to develop their individual identity. J.D. Gondhalekar, M.R. Achrekar, N.S.Bendre. K. K. Hebbar, M. S. Joshi. P. A. Dhond and Shankar Palsikar were among his illustrious contemporaries.

It was during this period that the career of Satwalekar grew in stature and substance. He began with portraits and landscapes creating compositions with remarkable freshness and conviction. Whatever the genre, the influence of European realism is evident in his work. He, however, gradually evolved a highly individualized visual metaphor and appreciation the aesthetic content in his familiar and immediate environment. Lucid palettes, a decisive draughtsmanship, a command of the varied landscape and of the sensuous female form have been the hallmarks of Satwalekar's meticulously cultivated style.

Satwalekar's first exhibition was in 1945, at the Taj Hotel in Mumbai, which was a testimony to his talent perfected by years of creative learning. Having imbibed cultural catholicity through his interaction with the great artists of the time, he returned to his homeland to start his professional career." Since then Satwalekar has had over 30 solo shows in Europe, Middle East, in Uganda, Kenya and Zanzibar (1949 - 50) apart from shows in India.

Satwalekar had had an exhibition of watercolors in 1998 at Sans Tache Art Gallery. Though known better for his oils, for this particular exhibition he chose architectural views of Rajasthan with colorfully dressed women, little lambs straying in the village and lively groups of rustic villagers. Art critic Dnyaneshwar Nadkarni had then mentioned of the veteran artist "opening up a world imbued with lyrical beauty and profound humanity." The 45 watercolor works on display had brush ranges over the fields, villages and ancient structures of Rajasthan.

In the seventies and the eighties, Satwalekar served as the Director of Art, Maharashtra State. He is also the co-founder of the Indian Art Institute for spreading awareness of art. Many private and public Institutions in India and abroad feature the artist's work. He has also authored several articles and published booklets on art.

The veteran painter's painting style, essentially tuned to India's cultural ethos, evolved over the years. Surprisingly, having been amidst an influential cultural milieu in the West, Satwalekar's paintings bespeak the language of the land, its customs, its pastimes, and primarily its people.

Madhav Satwalekar passed away in 2006.

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