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Lot 41

 

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B. Prabha's training at the Nagpur School of Art and the Sir J. J .School of Art equipped her to experiment with various media, styles and subjects. She worked extensively in oils, her preferred medium , and her thematic concerns revolved around the plight of women in India. "It is my aim to paint the trauma and tragedy of women", the artist once said. They are instantly recognisable by their elegiac, elongated forms and distant expressions.... B. Prabha's training at the Nagpur School of Art and the Sir J. J .School of Art equipped her to experiment with various media, styles and subjects. She worked extensively in oils, her preferred medium , and her thematic concerns revolved around the plight of women in India. "It is my aim to paint the trauma and tragedy of women", the artist once said. They are instantly recognisable by their elegiac, elongated forms and distant expressions.

Here, we see three women seated in a musical gathering. The sitar and the hand pointing upwards are only superficially indicative of the woman entranced in her singing. Her melancholic expression signals something different. The gathering is merely a setting that diverts attention from deeper, simmering issues. Though the seating suggests intimacy, each woman appears distant and disconnected from the scene, gazing into the distance. Their stoicalness poignantly captures the unspoken traumas they frequently face, learning to bear with them and eventually inuring themselves to these issues. Prabha superimposes the image of celebration over one of resignation, and in doing so, presents the viewer with a powerful, inescapable tragedy.

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