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Lot 11

 

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Trained in India under the traditional Oriya sculptor Giridhari Mahapatra, Chintamoni Kar expanded his influences to include Western artistic traditions when he moved to Paris in the 1930s to train at the Académie de la Grande Chaumière. Fluent in the academic style, the Padma Bhushan awardee eventually also embraced abstraction and worked with many mediums. This present lot, made in the challenging medium of terracotta, is an example of the... Trained in India under the traditional Oriya sculptor Giridhari Mahapatra, Chintamoni Kar expanded his influences to include Western artistic traditions when he moved to Paris in the 1930s to train at the Académie de la Grande Chaumière. Fluent in the academic style, the Padma Bhushan awardee eventually also embraced abstraction and worked with many mediums. This present lot, made in the challenging medium of terracotta, is an example of the elegant universality of Kar’s artistic language. “Tradition learned, then rejected; realistic work mastered before he moved away from it; for Chintamoni Kar, sculpture was an endless quest, one from which he wanted to peel away all layers and accoutrements to arrive at its soul. In ridding himself of the baggage of everything he had acquired, he simplified his sculpture to a fluid minimalism. His representation was not tied down to any particular geography, or period, or people, but was imbued with a sense of movement that was dynamic.” (Kishore Singh ed., Manifestations VII: 20th Century Indian Art, New Delhi: DAG, 2012, p. 92)

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