Important Notice

This work from 1997 shows a further development of thought from Kumar’s earlier abstracts. While his aerial view cityscapes revealed the core of Benaras, outlined in thick black lines, confronting the city from the ground pushes the viewer into its midst, as seen in the current lot. Forms are more discernible through recognisable shapes—trees, houses and water bodies are easily identifiable, rather than his earlier planes and colour blocks to... This work from 1997 shows a further development of thought from Kumar’s earlier abstracts. While his aerial view cityscapes revealed the core of Benaras, outlined in thick black lines, confronting the city from the ground pushes the viewer into its midst, as seen in the current lot. Forms are more discernible through recognisable shapes—trees, houses and water bodies are easily identifiable, rather than his earlier planes and colour blocks to insinuate physical location. Kumar still manages to evoke the essence of Benaras through staccato brush-strokes and use of colour, but bereft of the throngs of people.

“Everyone who has been deeply moved by his paintings of Benaras will understand the strength of the attraction. The ghats of Benaras have for centuries watched over generations of humanity; the funeral pyres express the passing of ages but their light shining in the dark hours of the night speak for a new beginning. This is probably the reason why Ram Kumar has repeatedly gone back to the traditional mystery and magic of this great shore. It is because the place is timeless Kumar has not peopled it with recognizable human beings on his canvas.” (Uma Prakash, “Ram Kumar—Beyond the Abstract”, Ram Kumar: Selected Works 1950-2010 Exhibition Catalogue, New Delhi: Vadehra Art Gallery, 2010, p5)

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