Was the presence of plane air painting in Madras? This Chennai art show tries to answer

In an extraordinary use of contradictions, a delightful view painted in transported blue colors, allows to trick the warm sunlightly, as a man takes a bull gazes into a distance. He stands near a huge, zero tree. Use of shade, and use of contrasting color straps, makes a picture of this water color skills by R Govindaraja; Artists at Madras School have a good example to interpret the 19th century European technology (French expression, derived from N. Ppany Air, which translates into ‘open air’).

Today, this beautiful painting has captured an entire wall on the first floor of the Lalit Kala Academy Gallery in Chennai, and many are rarely one of the works to be seen which works back in the early 1930s-which is believed to have been furious in the world of pre-modern pleas air paintings for the first time.

GD Paulraj, KCS Paneikar, S Dhanpal, R Krishna Rao, HV Ram Gopal, K Srinivasalu, GD Thayagraj, GD Arulraj, R Govindraj and PB Surendranath are the artists who have outwards, with all the clear and momentary glory, with different expressions. Early Bengal School artists such as Abanindranath Tagore, Gagnendranath Tagore and Nandlal Bose are also on performance, Bombay’s modernist movement such as Sha Raza, Walter Langaimmer, Ms. Joshi: a rare view in Chennai.

It is difficult to chart a linear, chronological story for this style of painting at Madras School. Ashwin E Rajopalan, the curator of the show by Ashwita’s Lalit Art Gallery, says that while researching Bombay School, the idea of ​​such a curse came, and especially Sha Raza. “For the purpose of curatorial story, museums, private collections and our own art collections have been worked together. It is not completely commercial,” says Ashwin.

“The Piramal Museum of Art [in Mumbai] There are about 200 watercolors who create this story from Bombay’s perspective. Then I stumbled on GD Paulraj. When I started researching Paulraj, I realized that he had appeared Relative weekly Issues in the early 1940s. Then I met her two brothers [GD Thyagaraj and GD Arulraj]From there, I started looking at people like Krishna Rao, while I already knew about the color of Panikikar’s water. ,

Ashwin believes that this story rests on the initial techniques of printmaking, interestingly. “Water color color was a favorite medium for printmaking. With the emergence of the color, this was the rise of water, which was done quickly. They were also given a photorialistic finish, possibly an effect from photography,” he guesses.

One of the works of GD Thiagraj on the display. Photo Credit: Special Arrangement

Paulraj was one of the first students of DP Roy Chaudhary. Five years later, the first coast of Panikikar and Madras School emerged. It is through this channel that Plin Air Style tricked into Madras, says Ashwin. Although it is difficult to create a formal conclusion, it is from the choice of Abanindranath Tagore, Gagnendranath Tagore and Nandalal Bose that the style reached Madras when Roy Chaudhary took charge as the principal of the Government College of Fine Arts.

“It may be that the watercolor is a medium of Bengal, and thus drawing came from Bengal due to wash technology, but Palraj was definitely a talented moment between the 1930s to the 1950s,” reminiscent of Ashwin. “In Bombay, NS Bendre and Hebbab painted the same way, but only five years later.”

Its spotlight on a specific strand, lost somewhere in the noise, which makes this performance different. While the work in itself is exemplary manifestations of pre-modern expressionism, what they investigate are largely unknown. It is the flowing trees or bustling markets of the Panikar, or moving from the depth of Govindraj, the mud rural landscape, the fleeting urgency of these frames demands a long, close gaze.

Prakash and heritage are displayed till 20 April, on the first floor, Lalit Kala Academy, Egmore.