Page 101 - Eye of the beholder

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