L14500

/

Lot 18
  • 18

Satish Gujral

Estimate
8,000 - 12,000 GBP
Log in to view results
bidding is closed

Description

  • Satish Gujral
  • Untitled
  • Signed in Devanagari and dated '71' upper right
  • Oil on canvas
  • 126.3 by 151 cm. (49 ¾ by 59 ½ in.)
  • Painted in 1971

Provenance

Sotheby's, New Delhi, 8-9 October 1992, lot 175

Condition

There are very small accretions, and some minor brown staining scattered across the surface of the artwork. There is light craquelure in areas of impasto, and some pin-hole sized losses. There is a small area of possible consolidation in the upper right quadrant of this painting. As viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Painter, sculptor, muralist, architect and interior designer, Satish Gujral has been described as a true 'renaissance artist' whose work marks a lifelong journey of experimentation within a range of media and forms of expression. In 1952 Gujral won a scholarship to apprentice at the Palacio Nationale de Belles Artesin Mexico under Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco.  Siqueiros along with Rivera and Orozco had established Mexican Muralism, a tradition of painting large-scale images of protest and nationalistic messages on public buildings. Gujral’s discontent with the social situation in India during the partition fueled this form of artistic output and cemented his interest in the subject.

This influential phase in his corpus led to his discovery of ceramic, granite and papier-mache as mediums. He also learned how to incorporate local culture into his art. During a time when Western ideals were affecting and influencing Indian art, Gujral was creating his very own aesthetic full of Indian symbology. Texture and colour became as important as the subject itself, as evidenced by this striking painting.