Prabhakar Barwe (1936-1995)

Acquired from Gallery Chemould

Thence by descent

Light fraying to tapestry at short ends from natural aging of fabric. Wear and pulling to thread at short ends. Slight discoloration again from natural ageing in certain areas throughout tapestry, example vertical discoloration at right side, center and vertical discoloration at center, bottom. Spot stain near top left corner. Light gray stain at top right corner from recent cleaning. Metal support at left edge is slightly damaged at bottom of center.
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Prabhakar Barwe with the patrilineal inheritance of visual art from his sculptor father and support from his granduncle Vinayak Pandurang Karmarkar was born in Nagoan, Maharashtra in 1936. He attended the Sir J.J. School of Art, Mumbai between the years 1954 to 1959. With an urge to explore multitudes of the aesthetics of image making and under the influence of then contemporary artists like Gaitonde, Mohan Samant and Ambadas, Barwe furthered his study for the crux of visual language, disregarding the clerical act of imitative imagery. His inquiry was coupled with the exposure to theories of Paul Klee, Ben Nicholson, which is evident in his own writings.

Occupation and mode of sustenance has been a distinct feature of his life and art practice. By joining the Weavers Design Service Center in early 60s the artist maintained a particular schedule of working. There he was involved with leading artists Gautam Waghela, K.G. Subramanyan and Ambadas. Throughout his service he constantly dealt with creation of new designs for the weavers, which enhanced his understanding of forms evident in his diaries. During 1962-1965, Barwe was posted at Varanasi where his encounter with the Tantric forms capture his interest following into a Tantricist phase of his works, which concludes with a realization of being an artist and not a Tantric to endeavour it.

Barwe in particular was curious about the innovation and the modern mode of image manifestations. With an affinity for contemporary practices as opposed to academic realism in his formative years, the artist worked with zeal of a scientist. His inquiry for an apt medium for image making was coupled by constant and pertinent interrogation linked to his derivative thought process. Enamel paints were used while his stay in Varanasi to overcome the obligation and non-availability of oil colours despite knowing the shortcomings of the medium. With a gradual progression in the technique, the artist explains his need for certain sheen where he successfully blends the commercial paint to achieve the result of oils and beyond through a layered method. His letter to Camlin Art Foundation is one interesting instance that displays his keen concerns for the specific quality of canvas, free of knots and properly primed. Expressing his botheration regarding a canvas, Barwe acknowledges the contribution of Camlin while urging them to be compatible with international standards.

Numerous accolades signify his distinct position in the field of visual arts. Amongst them the award by Academy of Fine Arts in Kolkata in 1963, the Bombay Art Society in 1964 and 1968, the Maharashtra State award in 1971 and the prestigious Lalit Kala Akademi awarded in 1976.  

N. Purohit, ‘Biographical Essay’, The Blank Canvas, edited by Jerry Pinto, Bodhana, Mumbai, 2013