Page 35 - Eye of the beholder

shadows, which became a challenge that he faced with a sense of experimental spirit. The nuanced brush strokes emanated an impression of brush dipped in light gently caressing the surface of the paper to create the effects he desired.
The painting “Lady in Black” has the representation of a young woman her face partially covered in her saree and rendered in profile. Her face is hardly visible and what strikes is he beautiful almond shaped eye with lowered gaze together with partially revealed face imparts an enigmatic character. The question that begs is her identity. The mysterious character is enhanced by the series of light haloes that surround her. Apparently she seems to be carrying a lamp which lights up her beautiful young face as she threads the darkness, the cast shadows repeating her form, which Gaganendranath has capitalized upon to mantle her with. The inherent lyricism emanating from her shadows delineated with values of tonal greys creates a mesmerizing effect on the viewer.
In his composition, an observed saliency is the design that remains as a manifest strength. The sense of design is strong in this particular work, in the manner her sari is draped and her carrying the rest of it over her arms in front is dissolved in the light of the lamp. The floral print on the saree is meticulously rendered and the dynamic and organic shapes of the floral constellation are contrasted with the fine white lines in her skirt below. Gaganendranath has cleverly created an arched doorway made visible by the pillar on the side, but melded it craftily with the haloes of sequential shadows, which he surrounded her with. It is this play of forms and shapes inter weaving with light and shadow that he creates the mystery and enigma in his works. His understanding of light, with its capricious evanescent character, handled with confidence and in a masterly way. That is the graded shadows continue to surround her as he played with the darker tone of black to evoke architectural elements. There is a dream like blending of shadowy of forms. Gaganendranath sensitivity to the subject of women, the mystery and delicacy that he invested them with is seen in this painting.
SELECT REFERENCE
Partha Mitter, Triumh of Modernism, Oxford university Pres
Gayatri Sinha, “Poetry and Patriotic Fervour: Indian Art Pre Independence, DAG Delhi Art Gallery, New Delhi 2003
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