NAME JOURNE Y'S END

ARTIST ABANINDRANATll TAGORE

MEDIUM WATER COLOUR AND TEMPER/\ (wash)

PERIOD 1937 A.O.

COURTESY NATIONAL GALLERY OF MODERN ART, NEW DELID

SUBJECT MATTER : This painting shows a tired and over1oaded camel

on the edge of death. In fact, the artist is showing a reflection of human
life through this piece of art-work.

DESCRIPTION : In this painting artist has used red, brown and a bit
of yellow orange colour giving the effect of sunset with wash technique.

In the fore ground, the loaded Camel has a kind of cloth tied with rope
on his back, showing that the work done by camel is more than its
capacity. The combinati on of colours has been extended to the foreground
adding dark tint in blues for the stones where the loaded camel is j1~s~
about to fall. There is an impressio n of the desert, giving a very mystical
effect to the whole compositi on. It is a symbolica l painting that reaches
beyond the explicity pictorial elements of the work. The crouching, g,1sping
came] set against an arid desert in the twilight hours has a relevance to
life in general.

The theme of painting gives an effect of poetic deliheratton, wherein a

loaded camel after a Jong journey is about to die and n111 on a stony ground.
The dying camel is a masterly study of the anitna1 and reflects keen
observation of the artist. The expression of the cainel's face is tremeo<lous.
',,#' -

NAME SIII VA ANH SATI

ARTIS1' NANI> I4Af ., BC >SE

f'l-:IH<>D 1'.)08 (lkngal School)

Ml ·'.J)ll JM WATIU~ C<JJJJIJR (Tl ~Ml'J ~RA)

C< )l 11{11 ~~y NATIONALOALJ ,HRY OF MOJJLJ<N AJ(f,N EW DELHI

SUBJECT MATTER : The t;u bjcct matter of the painting depicts Lord
Shiva is ~hown seated and carrying goddess Sati in his arms and the
scene is related to one of the main episodes of Shiva and Sati. Here
Sati is dead. The subject matter of this painting totally matche s the title.
This painting is a narrative mythology by Modem Indian artist, Sh. Nand
Lal Bose.

DESCRIPTION : This monochromatic painting seems to be inspired

from Ajanta paintings. A halo is shown around the head of Shiva for
representing him as God. Expressions are very good. The shades of
light in white colour have been depicted on foreheads of both figures
and also on body of Shiva. The painting has been made in brownish
monochromatic effects. The effects of clouds in the fore ground are very
impre~r-;ive. The background is quite attractive.

Sc1ti has 8acrificed her life for the sake of her husband Shiva's self respect.
Sati'i father Dak,;ha who was against their marriage spoke abusive words
for Shiva fo a great party (yajna). So, Sati ended her life through her
intrin~ic powen~ by burning her body through fire. So, in this painting,
Shiva i~ carrying Sati in his armr;, I le is in a sitting pose. It is one of
the beM painting8
of Sh. Nand Lal Dose.
A~ter being aHHociated with the works of 'Indian Society of Oriental Art',
th
ui painting at one of the emcicty 's first art exhibitions brought him a
prii.e of Rs. 500 in 1908.
 RADHIKA.
NAME
ARTIST M.A.R. CHUGHTAl

sCffOOL ~IODERN

MEDIUM \VATER COLOUR TEMPERA(WASII)

(OlJRIESY NATIONAL GALLERY OF MODERN ART, NEW DELI
II

SUBJECT 1\1.ATTER : Thi s painting is based on a typical

Indian young
cirl in standing pose going out of her roo1n. She is feel
i ng shy. This
painting belongs to Hindu religion. ·
DESCRIPTION : It is a ver tica l pai ntin g of M.A.R.
Chughtai (A
Pakistani Artist) hav ing the size 52.7 x 73 cm.
This is a painting of typ ical Ind ian you ng girl in standing
pose going out
of her room. Her hea d is dow n. Her left foo t is
forward and toe is
sho~11 nicely whi le the righ t foo t is sho wn wit h thre
e fingers with a
dominating little finger of the foot. Her left hand and righ
t hand are holding
the lotus flowers, left han d is ben t normally near her
neck while right
hand is folded in a typ ical pose, and an ant is walking
on a lotus flower
near her right hand. The ant is wit h wings, may _be an
insect.
In the background a lam p stan d wit h flame is shown with
a burning flame
and smoke is going upw ard s. Nea r the _lamp some
insects are shown
dead on the ground. _
DRESS : The lady is wea ring a blu e coloured lehnga,
a red blo~se and
a yellow orange sari with bot h of them. Ornaments are
shown ,vt th well
decorative lines.
L!nes are thin and sharp with full of expression. The
~·hole p~nti~g i's
giving a very good impression due to rhyth1nic, expressive
lier ha' au<l tnkle bnesd.
. Ir are also painted with grey black an d bro wn colour Bue · t"roun
is shown with centrally yellow coiour and gradually outs. . · e d
bro 1deh oranhnge .ane
~n at the bottom and top also. This p.un .. ,. · t'
10 g is of was tee 1qu
h· t' whi le this
~h1ch was only done by the Bengal School art1.sts at t
is a te h . ,ldt .•unen with thin
c . M stly hne s are iaw
brush n1que of Jap an and China. 0
es after the completion of pain · ting
· .
 - MEGHDOOT
~
RAM GOPAL VUAIVARGIYA
~sT
S(lJO(>L BENGAL SCHOOL
WATER COLOUJR (Wash) TEMPERA OlNI PAPER
~ 1961-66 A.O.
pER.tOD
10.5" X 14''
slZE
cot~ll~Y : LAUf KALA AKADEMI, NEW DELHI
SL1UECT MA I IER : This painting is based on a lyrical poem ·Megbdoot~
.ntren b}· Kalidas. Mrghadnta is a story of a Yaksha,, who lives in the t.:,;m1ifoJ
m,1hical cit)1 of Alaka in the Himalayas. He was exiled by his master
JGng Kubera fOT one year for neglecting his duties. The poem is set about
ei~t months afta the exile,, when the Yaksha ye.aming for bis beloved.
~vinces a pas.sing cloud to become his messenger (duta) and carry bis
~oe to his beloved wife awaiting bis return.
~ : Ram Gopal Vijaiwigiya,, a prolific writet and poet in addition
ro being an outstanding artist,, has painted Megbdoot (cloud-messenger).,
one of bis favourite themes,, in three separate series each one having op of
00 to 70 paintings. Literacy classics were a constant SOOICe of inspiration
for him which resulted into the production of masterpieces based on
literature. Bis personified fictional cbaractel'S had a life of their own, in
nalUre and watafall in an idyllic setting. His charactecs bad soft ~
grarefully curving bodies,, softly smiling mouths,, half-closed,, doe-like eyes..
thin shapely arms and long,, tapering fingen;
Here the handsome Yaksha is silting on rocks in a forest and writing his
feelings_ His features are beaotifolly modeled with youthful softness.. He is
wriling on a leaf with right hand and holding a flower in his left hand. His
e~ are sombec with teais in bi~ eyes as he longs for his belo\.-'Cd
and his home while writing the III.C'SS3ge. He is wearing a yellow Dhon and
• ~ stole hangs QO his left shoulde.-. He is also wearing a necklace. His
hair are long curled upwanl at the ends.
In the background lhere is a thatched hut and thick forest trees in green
and Yellow colours. The hut,, trees and rocky terrain are painted in lighl
ind <hut brown colour. Two wave like clouds are sw irling into the
~lllpositioo from back and front 1owa1ds the Yaks ha.. Tbey are painted
;:i sky blue in the start it dark sic.y. A few small bi~s ~ al1w0 n~g amongst
~ clouds. The nature :s.celll'S to he participating m hts yearomg lo reach
beloved_
!::_co~ are soft and light g iving d1is painting a sublle glow. _Lines are
--.p With tonal variations in brown oolouc. The story was as tmportant
:,.the tedinique of lbe painting. Even in modemiim he sticks lo his preference
lleople as subjects of literary works.
~ )=
 RA MA VA NQ UI SH IN G TH E PR
ID E OF TH E
OC EA N
RA JA RAVI VA RM A
ARTIST
pERIOD MI D 19th CE NT UR Y A .O .
M£DIUM OI L ON CA NV AS
coURTESY LA LIT KA LA AC AD EM Y, NE W
DE LH I
COL LECTION CH ITR AS HA LA , MY SO RE
Sl.J1JJECT MA TT ER : ! his ~ai nti ng
is b~sed ~n an epi sod e of Valmiki
Ramayana. After pre par ing his for ces 's
for mvad1ng La nk a to rec over Sit
Rama was held up by the sea , and a,
his arm y was sep ara ted from La
Attempts to build a bri dg e we re fai led nk a.
by the ang ry oce an. Ra ma thr eat ene
Varona (The God of Oc ean ) tha t he wo d
uld des tro y him ifh e didn't allow the
bridge to be built. On ly the n his for ces
cou ld cro ss the oce an to rea ch La nk
a.
DESCRIPTION: Th is pai nti ng , Ra ma
Va nq uis hin g the Pri de of the Oc ean
shows Rama's anger at the Go d of the Se ,
a for no t co- op era tin g in his att em pt
build a bridge to La nka . Th e un bea tab to
le Ra m pic ks up his bo w in ang er at
sea god and is ready to pla ce an arr ow the
at the str ing . At thi s, Va ron a alo ng wi
his companions rus hes to pac ify Ra m. th
An gry Ra m is sta nd ing ste rnl y, his
shown in profile wi th eye s po pp ing .ou face
t. A bo lt of lig htn ing in the dar k clo
sky enhances the eff ect ofthe up com ing udy
rag e ofRa m.
This moment of act ion is fro zen in thi s
pai nti ng wi th con tra stin g bal anc e and
dynamism at the sam e tim e. Th ere
is tur bu len ce in the wa ves wh ere
energized figures of the sea ris e fro m the
wa ter . Th e wa ves hit tin g the roc ks at
shore where Ram sta nds for m thi ck foa the
m. Th e po stu res of the figures and the
fl~ttering garments dep ict the sto rm ir
y atm osp her e. Du e to thi s com mo
(disorder) there is froth in the mi dd le of tio n
the com po siti on . Th e con tra st bet we
the textures of solid roc ks wh ere Ra m is sta en
P<>rtrayed. nd ing and the anx iou s sea is rig htl y

~O ~R SC~EME : Ra ja Ra vi Va nn ~ wa
s on e of the pione~ring art ists w~ o
~ . to use otl colours as the me diu m of art .
un der Eu rop ean mf lue nce . In thi s
: ;lnbng colors are wa rm and mu ted (ge ntl e) wi th mo stly
Br ow n, y~llow and
0
:g e tones. Wh ite is ski lfu lly use d in the lightening, Ram'
in Ygarment and the fro thy sea . Th
s loi n clo th- his
st1 e thr ee figures of the sea are col our ful
e~ Y the play of tex tur es tha t has . It is
~l a ma jor rol e to bri ng abo ut the des ire d
,
 .. t\101~111:R AND Clll l .. D
TJUE
.. JA~11NI ROY
,4RTIST
,-tEDIUl\1
.. TEMPERA (Water Colour)
.. ~-10DERN
PERIOD

SUBJECT l\tATIER : This painting depicts a molm.T holding ht,Tthild. The

subject matter matches ~otally with the title of the pain ling.
DL~IPTION : This is a vertical painting by Jamini Roy.. A mother is
holding her son with her lcfi hand on the left side on her wai~-i. Face is cup
sha~ eyes are elongat~ a stylized influence of the Pala School of Eastern
India. The child also has similar eyes with thick eyebrows. ~'tothcr~s head is
tilted towards the son. The child is totally naked while the mother is wearing a
sari. Bordcr ofsari is shown at difTercnt places. On one side we can see a plant
like structure. Both mothcr and child are decorated with ornaments. There is a
small bun on top of the child ..s head similar to Roy's images of baby Krishna.
The folk motifs in the background capture the simplicity oflocal and rural life.
This mother is unmindful of everything otlk.T than her role as a mother. Such
portrayal has a rural simplicity where contentment comes easy.
Lines are very sharp~thick and fully expressive. The figures are arranged in a
single frontal plane in simple two-dimensional fonns, with flat colour
application and forceful lines. The flat colours on the flat planes have removed
all llllllCCeSsary omamcotation from his work. The bold lines defining curves
come alive with her feminine beauty. The bold-sweeping brush strokes at the
contours• bring clarity into the composition. There is a sensitive moulding of
the volume of figures with tonal gradations. The decorative motifs are inspired
from Kantha andAlpana ofBengal The overall treatment shows the influence
ofKalighat Pat paintings.
COLOR SCHEME : The artist's palette is limited to a few earthy colours,
mostly green, red, yellow ochre., gray, vennillion, blue and lampblack.. The
colour bands of varying thickness bring down the ~ of the black line.
The artist bas limited himselfto the ~ c white line drawing foe ornamentation.
Jaminj Roy was a modem artist more than anyone else 'Who followed an
entirety different path of expression, deeply inspired by the Bengal folk
tradition. His style had a tremendous impact on succeeding painters.
.,-=---------
outer edges Qldlmc
 HALD I GRIN DERS
TITLE
AMRITA SHERGIL
.4.RTIS T
1940
TIME
76.5 c1n x 102 cm
SIZE
MEDI UM OIL ON CANVAS
COLLECTION : NATIONAL GALLERY OF MODERN ART, NEW
DELHI
SUBJECT l\lATTER / THEME: The whole picture represents an actual
setting of a village household. The women are sitting and grinding haldi in a
traditional way.
DESCRIPTION: Amrita Shergil had great empathy and fascination for rural
poor and authentic Indi~. She carried within her a deep sense ofmelancholy that
found expression in the serious faces and still poses of her subjects.
This painting is a very honest portrayal of a domestic Indian household. It
shows women doing a very routine chore of grinding turmeric, a common spice
used in every Indian cuisine. Here we see the view through two tree trunks that
frame the main figur.es . _to _bring. them ,µito . focus. _The two women sitting
sideways/in profile are grinding ori a storie grinder.that is operated manually in
a traditional style. Their heads are ~overed and faces are dark with no emphasis
on facial features. There is a young ·girl sitting next to them with turmeric seeds
helping them out. One more head is visible at the far end of the composition
which is again veiled and obscure(unclear). These are women who have
surrendered to their fate and are comfortable as they are. Even the small girl is
happy doing what women around her do without any different expectations
from her future.
The female forms a~e simplified and abstract in a very modem style that she
hrou~t with herself through foreign upbringing and training. The trees~
sp~~ially the details of leaves carry the influence of Rajput and Pah3:1
miniature paintings that she encountered after coining to India. Hence, this
painting is an extraordinary mix of East and West.
Her colours are flat and earthy with intense reds, ochres , browns, yellows and
st
greens, and her figures expressed a new visual reality. It also reveals the arti 's
sense of scientific perspective and balance of con1position.
PAINTING
 .:;:.- ...- - - ~tav'&!l!
!lil:Jll ' X ~I -
'l
; NAME
ARTIST ·
M O T H t:ll T E R E S
M .F. H U S A IN
A

i ME.Oil.Thi
i \VA T E R C O L OL"R
~
t PERIOD t9 97 A D.
SIZE · 56 x 36an.
S ~ C T MATTE
R : T h is is o n e o f t
k p a in ti n g s fiOJD ~ reres'
se n es by ·~ artist.
In h is o w n ~
~ ~ the JJ)Odef1l~
~
(r ep re se ot at Jo n o f m
o th er ma.ty ), who em aJ
bracro th e poor and
herov.n, fu r me she is
a timeless f i ~ Iv .i ~ . bd·'
ll D e \~ g e t ti te d o
f~
 u.ESCRIP TION \VITO COWR SCHEIIE : The painting shows a
face~ figwe with Bowing drapes of lhe blue bordered white sari that was
worn by Mother-Teresa The sari is actually symbolic of the unifocm of the
of the orphanage and homes run by Mothcr Teresa.. The Mother is
1)111).S
supposedly sitting under- the pavilion of a Cb~ which the artist has
randomly divided with two yeUow lines on his canvas.. A sick person is on her
lap and she is leaning protective ly (gently) over his body. The left extended
palm is SOD'JC\\'-bat similar to ahhay n,udra to assure the needy to have faith in
the healing power of God The black colour below the covered bead in place
ofthe face merges with the backgroun d.
The faceless entity is to establish her universal mothemo od for \\1-tlich cas~
coloor or religion is unimporta nt. It also indicates complete rejection ofego.,
a quality of this cXbonely selfless person. The spread of her sari shelters a
homeless child on the right and on the le~ a naked infant orphan is held by her
replica The coloor of the infant and the saree in the left panel (formed by
yellow line) is ochre. It actually sig.ni fies Jk,-,- as one\\ith whoever needs help.
There is one more sarec oo\·Cff'd head behind the molhcr,.s head. almost
similar but without the blue bonkr. It could probably be for symbolisi ng lhe
other nuns who also did the same kind of wod for the ncooy. The sick man is
painted with Indian red colour.
The brightness of the saintly" hitc sarcc is brightening up the whole spirit of
the composition. The molhcr rises as a guardian angel against the dark and
brings light to the li~·esof the poor and the needy. The figure ofMother Teresa
acquires the position of a uni,-asal molhcr., while the figure of the_old man is
helpless and lies in her lap.
The saree with a blue bonlet- that co,·ers her head and draped around her,, the
strong play of colours \\ith blac~ bas influence of Roman stained glass and
mosaics. In these semi-abstract .-arts, Husain rq>eatedly uses elements
from European Rmaissan ce painting and scolpbm; For instance ""Le
Pic!a...,(figwe below) by llichaelan gelo where Maiy holds the dead Cluist in
httlap. .
Husain ~ilo is associate d with modernism is also
called the ...Pic:as_,.,o of India.,,_ The painting speaks
volumes about Husain.,s command over bol~
~oOrous lines and forms. His lines are shaip and full
ofexpression_ Mostly colours are ~ light and dad
tones can be seai at a few places.. This painting series
PR>vcs the level ofmatmity and str~oth ofexpression
•7dh minimal forms that he acquired ovel"the years.
N.\ME OF\VALLS
AR'l'IST ANUPAMSUD
MEDIUM UTI-IOGRAPH
PERIOD 1982A.D.
COURTESY ALL INDIA FINE ART CRAFf SOCIElY, NE\\' DELfll

~
 1

SUBJ ECT MATTER : This Art w~rk i_s

a joume_y of the a~ist down her
memory lane -of childhood. The subject 1s unc
onsc1ously lost m the mystery
of tim e, with nothing in particular but a gliding
image that has found place in
her crea tion. This work is often interpreted as
a representation of poverty and
loneliness. However, for the artist it is more of
a personal moment.
DESCRIPTION : This horizontal Art wo
rk is in a new technique of
Lithograph print. The artist Anupam Sud
imagines in this etching, an
experience she had when she returned to the
house where she had spent her
childhood. In the background you can see
the wa\ls of the 'haveli', the
spacious ston e house where she grew up. \Vh
ile many things have changed
since that tim e, with her etching Anupam con
verts the memories of that tim e
into solid and real images. For instance, the
wall drawings that she had mad e
as a little girl reappear. They arc all single line
drawings with plane triangles,
circles and rectangles. The wall stayed in
lhc sub con $do us because it wa s
very big for the child that lived there once.
but now it seems to have shrunk.
The print is etch ed in brown colour and line
dra\\·ings are in white colour. A
poor faceless lad y sitt ing. on a pavihl>n of the
wall on one side is cla d in an
untidy lookin g sari and is bare foct. In the fore
ground two legs and a foot are
visible, of a man sleepin g nc:ar the wall.
The artist's keen pow er of s~cing the ord
inary and then transferring that
realism 3 without any beauty or glamour ont
o the etchings is extraordinary.
She could extract immense emotive and visu
al details out of her medium. Her
realism focuses on the hwnan body that is
expose d to the harshness of the
society and the suffocating walls of prejud
ices. The almost photographic
details of her works explore the physical rea
lity of humans and objects and
represent them as mortal flesh, texture , vol
ume and fonn. The contours are
very well defined in shades and shadows of prin
ts.
An~pam Sud exposed the hidden face of
str the society and presented it in a
aightforward manner. She was always interes
ted in the feminine subjects,
depicting women' s deprivation and exploitatio
n and explored the nature ofher
psyche. In this case the faceless figure
of the woman represents her
VUlnerability and emptiness in continuous
, endless time. The work is
tboughtful, haunting and indistinct with the dee
OVeraU affect.
p monochromes enhancing the
 CHILDREN
NAME
SOMNATI-1 HORE
ARTIST
ETCHING AND AQUATING
MEJ)IUM
p£RIOD I955-1970 A.D.

C()lJRIF.SY TifE NATIONAL GALLERY OF MODERN ARI', NEW DELI-Il

SUBJECT MATTER : The print is a visualization of the artist's emotional

response to the pain and suffering of the poor and deprived - the wounded
humanity. It is about the physical suffering of the victimize d and the wounded,
with no hope of rescue in this world, or the other.

DESCRIPTION : This etching with aquatint in black and white is a

figurative work symbolising the artisfs protest against the injustice towards
the innocent poor people. It is a composition of five standing figures grouped
together, all victims of starvation . The thin. worn out children have bloated'
stomachs and thin rectangular rib<:agcs showing the effects of prolonged
2
hunger. Heads are enom1ous skulls with small bony faces resting on rickety
torsos and limbs. Eyes are white horrifying hollows. Their mother, standing
behind them, has put her protective hands on their shoulders. In the
foreground a semi dressed child is standing wearing a necklace. The tallest
figure on top with hands on both sides of the head appears ghostly. A girl with
her back towards the viewer is standing on the left vertical plane. The human
forms are divided into cubist style geometric planes. Different tones of blue
and grey are used in linear texture in the background as well as the shaded part
of tbe bodies for depicting the under nourished children from th e poor
deprived society.
~ore's Work was deeply influenced by the 1943 Bengal famine which shook
him deeply. His subjects are the neglected poor people who suffer in
evel'Ything social or natural. His symbolic abstraction in art cries of suffering
aJldexjs
tences left with no hope.
s,,,ollen ::-: ~-- ---- ---- ---- ---- --
~--
1.
2· shaky due to poor health
 GRAPHIC PRINT

..
..-·
.·.?t,:;
ff 1,
l•

~;
• ' I •~

◄ .'
 ·~j

I\ t<AME
DEVI
JYOTIBHATI
ARTIST
pERIOD 1965-1975 A.D.

MEDIUM EfCHING

colJRTE.5Y 1HE NATIONAL GAILERY OF MODERN ART, NEW DELHI

SUBJECT MATTER : This etching print shows Devi as a power of

worship and the hidden power of Kundalin i ( a form of feminine shakti or
,~physical energy" that we all possess). The Yoga Upanisha ds describe that
Kundalini is lying coiled at the base of our spine, represent ed as either a
goddess or a sleeping serpent waiting to be awakene d.

DESCRIPTIO_N : The composit ion is a combina tion of two rectangles

(rounded at comers) made with a coiling and spiraling serpentin e form of
Kundalini. The upper rectangle has a bold face in its centre and the lower
one has two circles with one human figure each, separated by a tail. The
figures are curled within the dimensio ns of the circles. There are small
birds and other small motifs of folk art as well in these circles. On the
forehead of the face on the upper rectangle a brilliant vermilion (Red)
Bindi catches the eye. The wide open eyes are typically like that of Durga
idol. Tones of sap green are used on each side of Devi's head in the shape of
decorative pendants. There is interestin g writing on both pendants , one has
arti st' s name on it and the other has "Pseudo Tantrik Kundalin i" written on
it. Deep linear etching gives an interestin g texture to the serpentine form.
the flowers
drawn on the cheeks and the earrings are part of Bhatt's
sty!' · ·
ization of the goddess face.
As ~er the tantra philosoph y, kundalin i has a counterp art that resides in
brain wh
b . ere power of Shiva resides. The powers of shiva and shak. .
h umte
Yth enseofKu ndalini which then leads to spiritual awakenin g.
Jy .
ott Bhatt's work falls into the genre of pop art that explored and re-
;xplored a personal language of symbols taken from Indian culture.
~acock, parrot, lotus, stylized Indian gods and goddesse s and tribal and
V1Uaged . . . . .
es1gns can be seen in his work 1n different vanat1ons.
 : MAN, \V01\1AN AND TREE
NAME
ARTIST : K.LAXMAGOUD

MEJ)IlJM : UTHOORAPH

SCHOOL : MODERN

CO(JRIFSY : TIIE NATIONAL GALLERY OF MODERN ART, NEW DELIIl

SUBJECT MATTER : It is a depiction of village life basing on artist's

childhood memories of rural and tribal liveliness. A native of an Andhra
village, the artist has presented a rustic version of a man, a woman and a tree.

DESCRIPTION : This vertical graphic print has four trees in the

background. One on the left side of the print and three trees on the right side of
the print. In the background we can see trees which have branches only at the
top of the trunk. While in the foreground on the right side, a woman clad ~n a
saree is sitting under the single tree, wearing a nose ring, a necklace and two
bangles each in both arms. She is looking towards the man who is standing
beside her under the three trees and looking at her. They are simple .villagers
ofSouth India. Between the man and woman, flowering plants and shrubs are
seen separating the two. The treatment of leaves in each tree and plant is
distinctly done in detail.
Light blue and green colours are used to depict the whole print expressively
and impressively. We can see patches of blue and green colours on top of the
branches of the trees. It's a soft palette of monochrome greys in which
Humans and nature are in complete harmony.
The artist found himself attracted to the unselfconscious attitudes toward
sexuality that contributed to the relaxed atmosphere ofvillage life. In this print
also there are traces of physical attraction between the man and the woman.
There is gentle stylization in the actual appearance of villagers which gives
:ctn a subdued• look. This expression of village nostalgia' mingled with
antasYinth·ts pnnt
· is totally absorbed.m nature.

~---:- --~--- ------ ----:-- --

, ...ct, Plss-;-
IVe, 2- memories.