Ganesh Pyne  Lalu Prasad Shaw: Two Faces of Bengal Modernism

Ganesh Pyne Lalu Prasad Shaw: Two Faces of Bengal Modernism

 

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About The Event

New Delhi: To capture the creative impulse of two Bengal masters, Kolkata-based Cima Gallery presents "Ganesh Pyne & Lalu Prasad Shaw: Two Faces of Bengal Modernism" at Visual Arts Gallery, India Habitat Centre, New Delhi from February 1 to February 6, 2016, 10 a.m. to 8 p.m. Phone: 43662024/25. 

 

The show includes 33 works by Pyne and 23 works by Shaw. While Pyne’s work shows the dark not-so-secretive secrets contained within the very structures of the stories we have grown up with. Shaw’s works reconfigure the aesthetic of scenes from the ordinary.

 

Says Rakhi Sarkar, Director, Cima Gallery and curator of the show: “Both the artists were very Bengali in spirit. While Ganesh had a purely urban upbringing, Lalu grew up among the pristine surroundings of rural Bengal. Lalu;s works are direct and aesthetically shaped by his relatively simple rural moorings. Idol making, patachitras, the company school and indigenous humour and rasa inspire his creative impulse. A product of Calcutta, Ganesh’s sensibilities on the other hand, were shaped by multi-layered, complex urban predilections, replete with socio-political underpinnings of his times. Lalu looked essentially at his country and roots whereas Ganesh, while being deeply affected by Bengali literature, theatre and history was equally fascinated by western art, philosophy, cinema and animation.  His art is result of his urbanity – a modern Bengali looking at the world in ways that Tagore or Satyajit Ray did. By juxtaposing two very dissimilar contemporaries, the exhibition points to the two parallel and dominant intellectual forces that shaped the visual language of modern Bengal; both addressing the concerns of tradition and modernity differently yet decisively.”

 

Ganesh Pyne (1937-2013) is best known for his tempera works depicting symbols, myths and epics as they are lived out. Among his influences are Abanindranath Tagore and Paul Klee, and Pyne adopts both the quietness of the former and the strangeness of the latter. His jottings are matrices (done on graph paper) of spontaneous thoughts, quotes, and sketches that give a sense of the process of Pyne’s art-making.

 

Lalu Prasad Shaw (1937-) drew his influences from the Ajanta cave paintings and the Kalighat pat style to create his own style of distinct, defined lines and stark colours. He is known for his portraits, his tempera works, and his etchings. Dwelling on the physical details of the things and people he paints, Shaw gives them a special kind of form and intimacy.