Important Notice

One of the foremost painters of Indian Modern Art, N. S. Bendre closely followed European art movements prevalent from the 1930s through the 1980s and deftly adapted these to his subject matter. His artistic evolution is marked by numerous stylistic shifts, spanning Expressionism, Impressionism, Cubism and Pointillism, and the present lot forms an important nodal point in Bendre's pointillist phase.

Having experimented with... One of the foremost painters of Indian Modern Art, N. S. Bendre closely followed European art movements prevalent from the 1930s through the 1980s and deftly adapted these to his subject matter. His artistic evolution is marked by numerous stylistic shifts, spanning Expressionism, Impressionism, Cubism and Pointillism, and the present lot forms an important nodal point in Bendre's pointillist phase.

Having experimented with abstraction for a brief period, his pointillist works of the late '60s show a focus on the placement of colour and appear to be slowly taking shape from abstraction. He first began experimenting with pointillism after retiring from his post as Dean of M. S. University, Baroda. Throughout his career, Bendre was drawn toward idyllic, rural scenes and many of his works feature this as the reigning theme. The present lot was created towards the end of the artist's life when he had achieved mastery over his style. It depicts three young Lamani or Banjara women of the nomadic tribes who traverse across the Deccan plateau in search of work. Here, Bendre frames them seated in relaxed poses, possibly during a break from their work. All three are dressed in traditional garb with colourful clothes and heavy jewellery. Colours are subtly and masterfully employed, lending an overall harmony to the setting.

In reference to his work and inspiration, Bendre wrote, "In this world, one comes across many things, natural and man-made, which are worth painting: trees, birds, water and landscapes, houses and city scenes. Man is the centre of my universe along with his emotions, his love, his social intercourse, his surroundings" (Narayan Bendre, "My Painting", Bendre, The Painter and The Person, The Bendre Foundation for Art and Culture, Mumbai, 1990, pg. 63).

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