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Lot 26

 

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A towering figure in the world of modern Indian art, N S Bendre closely followed Western art movements, and experimented with a variety of styles ranging from Expressionism to Pointillism in later years. Over decades, he incorporated and adapted these influences into his own style rooted in Indian formalism, and his choice of subject matter -- classically Indian themes such as birds and animals, figures in village settings, and quintessentially... A towering figure in the world of modern Indian art, N S Bendre closely followed Western art movements, and experimented with a variety of styles ranging from Expressionism to Pointillism in later years. Over decades, he incorporated and adapted these influences into his own style rooted in Indian formalism, and his choice of subject matter -- classically Indian themes such as birds and animals, figures in village settings, and quintessentially Indian landscapes. According to Bendre, "Indian art is very tolerant. It has accepted a number of influences from outside, digested them and created its own art forms... The respect for the flat area on which to paint, the use of conceptual images understandable to the people at large, based on observation and memory, have been characteristic of Indian art. The colour orchestration that can have its impact on the Indian mind, dedication and devotion to the subject matter including geometrical forms working as magic, the resulting quality of peace of mind and serenity all this is Indian." (Artist quoted in Ram Chatterji, Bendre: The Painter and the Person, Mumbai: The Bendre Foundation for Art and Culture & Indus Corporation, 1990, p. 63)

Bendre first began experimenting with Pointillism after retiring from his post as the dean of M S University, Baroda. The present lot is a fine example of his Pointillist phase, created at a time when he had achieved mastery over his style. Painted in 1982, it is perhaps an idyllic rendition of the hill station town of Pachmarhi in Madhya Pradesh, which the artist had likely visited. In this scene, Bendre depicts a group of women in the midst of various activities, from collecting water at the local watering hole to threshing grain. The darkness of the twilight sky and hilly range in the background, offset by white-washed houses and colourfully-clad figures, creates a moody juxtaposition, while the hint of a rising orange sun further builds upon the pensive atmosphere. According to Ram Chatterji, Bendre, in the latter half of his career, "concentrates on the depiction of joy, the charm that the world has to offer to anyone who cares to see it. He uses familiar forms... he conveys the effect of distance with gradual elimination of details. He gives prime importance to his visual experience, but he does not resort to naturalistic representation. He interprets it on his canvas in his own terms and offers what he has seen and enjoyed." (Chatterji, p. 61)

Bendre was also known for his remarkable ability of painting en plein air, effectively creating balance and harmony in his works through his intuitive technique and use of colour. "For well over half a century, Bendre has time and again startled artists and art lovers with his innovative use of colour, his sensitivity to the play of subtle hues in nature, and his ability to transfer them to canvas with unmatched dexterity, whatever the medium." (Chatterji, p. 1)

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