Page 101 - Eye of the beholder

imparting a character of descriptive, decorative as well as emotional. Line remained the mainstay of his art, carrying the burden of its narration and sentiments. The internalization of the saliencies inherent in folk art traditions was to remain with him manifesting it with a modern sensibility. A sensitive artist alive to his environment he brought to his canvases the life of ordinary people a non-hierarchical world whose existence he could empathize with. It was perhaps this important element that shaded his works and gave it an emotional appeal through a decorative character, which continued to be part of his art making process. His works carry an inherent ambience of happiness and joy, perhaps reflecting on his die hard attitude to life.
About his life Suhas Bahulkar said “He saw many ups and downs in his career as an artist, but that did not prevent Almelkar from living his life to the full. A man of many talents, he sang and danced with gay abandon; spoke many languages including Hindi, Kannada, Tamil, ‘Bombaiya’ English and several tribal dialects. He travelled across many villages and rural areas, and mingled happily with local people, especially tribals and adivasis. His love and understanding of their primitive world remained warm, deep and sympathetic; that made them come alive in his art”.
The Untitled work in the collection has the representation of a group of women carrying pots on their heads and walking perhaps towards their home. The facial features are typical of Almelkar’s style large dramatic eyes, sharp pointed nose with an elaborate nose ring and bangles on their wrist. The pots have been given a central role formally, in the way Almelkar plays with the curves giving life to it and making it mobile like the joyous gait of the women. A glance reveals that not only the woman in front carries the pot in her hand in addition to the two on her head, but also carried by the others as well. There are two pots in the right lower corner and two in the further corner in the right background. The artist has brilliantly conveyed the walking gait of these women by the flying lines as well as in the movement of the hips. The colours are strikingly vibrant and brilliant akin to Indian sunshine as the oranges and maroons contrasting with the lemon yellow and balanced by the earthy brown of the pots. The lines remain seminal in describing the sartorial attire, which are firm and tenuously held together. The painting carries an aura of festivity and happy mod.
Almelkar passed away in December 1982 as a result of the heart attack in Pune at the age of 62.
SELECT REFERENCE
“Manifestations: Indian Art in the 20th century” Indian Art from DAG collections, New Delhi, 2003
“Made in India: Indian Modern and Contemporary Art” DAG, New Delhi 2007 https://www.saffronart.com/auctions/postwork.aspx?l=32 https://www.mid-day.com/articles/artist-aa-almelkars-works-to-be-displayed-at-south-mumbai-exhibition/17132153
https://www.deccanherald.com/content/602029/bound-tradition.html
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