Important Notice

In the works of N. S. Bendre, "idyllic vignettes of village women, a mother and her child, or peasant life were painted with a lilting lyricism. Drawing from his travels and consequent exposure to European art, his stint at Santiniketan in 1945, and finally his interaction with the Progressive Artist`s in Bombay, Bendre was to assimilate all this into an idiom that adopted the modernist vocabulary to Indian themes and subjects. His pastoral... In the works of N. S. Bendre, "idyllic vignettes of village women, a mother and her child, or peasant life were painted with a lilting lyricism. Drawing from his travels and consequent exposure to European art, his stint at Santiniketan in 1945, and finally his interaction with the Progressive Artist`s in Bombay, Bendre was to assimilate all this into an idiom that adopted the modernist vocabulary to Indian themes and subjects. His pastoral scenes spoke of a pan - Indian vision located in an idyllic village life and celebrated a pre-industrial society." (Yashodhara Dalmia, The Making of Modern Indian Art; the Progressives, Oxford University Press)
This work is done during his last year as a teacher in The Faculty of Fine Arts, M.S.U., Baroda, revealing a strong expressionist trait in his use of color, uniting it with Indian thematic considerations. The strokes are rich and full, like the abundance in nature. Here, nature is vital in `celebration`, as shown by the rural girl in the background. This is further underscored by the tree in the painting which encapsulates this joyous interaction between nature and the girl.

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