Painting exhibition - expressive canvas
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Sarla Chandra has been painting for over 40 years, focusing on Indian mythology and spirituality. Her current solo exhibition "Golden Thread" showcases paintings using materials like metal foil to capture the essence of Hindu spirituality. Meanwhile, the National Gallery of Modern Art in New Delhi is presenting an exhibition of over 90 paintings from the Victoria and Albert Museum from 1790-1927 by Western artists visiting India. The exhibition depicts various aspects of Indian life, landscapes, architecture, and people over different historical periods.
Painting exhibition - expressive canvas
- 1. . Expressive anvas c Capturing the '. essenceof Indian .~:; spiritualism, Sarla's ~t painting revolves '.' around myth and scripture; while another exhibition in the Capital showcases art down the centuries SARLA Chandra, a science post-graduate from St John's College, Agra, has been painting for the best part of forty years A dedicated mother of two married daughters, an impeccable housewife and exemplary hostess, Sarla still finds time to internalise and paint extensively, quite as a meditation. With endless energy she has tried her hand at working on metal relief, depicting the Ramayana, us<:d oil, acrylic, foil, paper and canvass to expres.~ her inner workings. Somewhere in her works she manages to capture the essence of Indian spiritualism, the softly iridescent ,", ,ii;~ metal foils she tends to use as highlight, mind. Her solo show "Golden Thread" between 18h to 20th century. The fourth section, based on realism, effectively translating the essence of opens at the PBC Gallery, Paharpur According to Prof Rajeev Lochan, documents the social life and people Hindu existence, of living life to attain Business Centre, 21 Nehru Place Greens Director, NGMA: ''The first visual engaged in various professions during Ananda, the glow of enlightenment at on the 24th of this month. representations of India by western that time. the end of the tunneL *** The charm of the exhibition lies not artists were of imaginary landscapes Sarla has drawn and painted, varied The National Gallery of Modem Art and settings. They were based on the just in being an invaluable sociological in collaboration with the Victoria and .. .. her scaling as per her needs, revolving ~i!ft1 .. ';: 00" ' . document, but more perhaps as the round Indian myth and scripture, mterpreting and re-interpreting them as Albert Museum, London, presents Indian Life and Landscape by Western Artists, an exhibition of more than ~ . ... . .. . .. glimpse it allows into an India that was, centuries ago, its heat and dl!5t, rivers she passes through different phases in and t~, habit and attire, its vast her life, styling them on her own ninety paintings and drawings from the written accounts of travellers to India landscape, and the humble naivete of experiences of travel and time. V&A 1790 -1927, at National Gallery from across Europe. It was only after its people in the face of such enormity. Indian in content, her style is her of Modem Art, Jaipur House, New professional European artists began to own, traditional fineness in the smaller Delhi from 27 October to 6 December. travel to India that they painted, for the works, more western 'contemporary' as The exhibition is a collection from first time, scenes based on direct the scale grows. Always in eamest, London's Victoria and Albert Museum observation. Their passionate interest in always striving to enrich her idiom, the which shows rare and intC?resting this new and exciting land led to the "rtist im presses by her consistency and watercolours, sketches, aquatints, creation of a comprehensive pictorial dedication, guarding her inner spaces to lithographs and engravings by record of India, in a visual style nurture the mystic murmurings of her European artists who visited India familiar to western audiences." The exhibition is divided into four sections showcasing the works of various schools of art beginning with a tour of India through dramatic pictures of splendid forts, temples, and palaces. The second section showcases works by amateur artists who were captivated by the landscape a,'id arch;tecturc of ImVa. Many of these amateurs were employees of the East India Company, who painted their personal experiences. - The third section is dedicated to romanticised versions of India depicting striking, decorative paintings entirely from the imagination. Perhaps the most striking of such paintings on display are William Carpenter's glowing rendition of the marble "Interior of the Neminath Temple", Dilwara, Mount . Abu. Ancient Observatory by William Simpson, A Hindoo Female of the Konkan by Robert Melville Grindlay and A leopard attacking an antelope by Samuel Howitt are other examples of the romantic school of practice.