Prabhakar Barwe

Saffronart New Delhi, 19 June 2008, lot 65

Saffronart New Delhi, 10 September 2015, lot 39

Pinhole sized brown spots are visible across the surface and a slightly larger stain is noticeable to the left of the Ram's head upon close inspection. There is discolouration around the edges. Craquelure and irregularities in the paint appear throughout under close scrutiny. This painting is in good overall condition, as viewed, and a light clean is recommended. UV light: Two small spots of paint fluoresce on the lamp but appear to be inherent.
"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."

The present lot brings a sense of almost zen-like perfection to Prabhakar Barwe's work. Each brushstroke carefully crafts his narrative that portrays the organised chaos of everyday life in the form of incongruous objects that would otherwise never be grouped together, compels the viewer to think.

Barwe attended the Sir J. J. School of Art, Bombay (now Mumbai) in the early 1950s, and it was during this time that he was influenced by the work of the then local artists like Gaitonde, Mohan Samant, and Ambadas, but his seminal influences were from the Expressionist movement, and perhaps most notably by the work of Paul Klee and the theory of Ben Nicholson.

Like the great artists of the west who faced hardships in procuring painting materials during the war years, Barwe, the perfectionist, would have faced similar difficulties procuring good quality materials for his work in the then newly independent India, when during a posting in Varanasi (then Benares) in the early 1960s, he started using enamel paint as a substitute because of the non-availability of oil colours. That need to use only the best materials to achieve the best finish is evident from his correspondence with the Camlin Art Foundation in which he talks about the quality of the canvas. The result of this discernment was that each time Barwe was able to produce a perfectly finished canvas with almost invisible brushwork and a characteristic oil paint-like sheen which he achieved by blending enamel paint that he applied in layers.