Tuesday 25 October 2022

Non-objective art is a visual language of forms, colours, textures and many a times it goes beyond. In case of Indian modern art it is difficult to identify the first Indian modern abstract painting.

Non-objective art and the Avartana: the repetition… Non- objective art or abstract art in India has its followers; some as artists and many as collectors. Non-objective art is a visual language of forms, colours, textures and many a times it goes beyond. In case of Indian modern art it is difficult to identify the first Indian modern abstract painting. 

As we all are aware that Prof. Sankar Palshik

Non Object Painter - Ganesh Tartare 

below play interview 

ar, G.R. Santosh, K.G.S. Parnnikar, V.S. Gaitonde, S.H. Raza and a few others are renowned non-objective or abstract painters of early generation of Modern Indian art. The next generation is another batch of non-objective painters such as Laxman Shreshtha, Nasarin Mohmadi, Prabhakar Barve (early works), Prabhakar Kolte, Accutan Kuddul, Yusuf, Akhilesh, Jairam Patel, Dashrath Patel, Vijay Shinde etc.The next batch consists of Vilas Shinde, K.C. Bose, Jinsukha Shinde, Yogesh Rawal, A. Balasubramaniam, Rajaram Hole and many more. Here we can consider the name of Ganesh Tartare after observing his works. His works has structural quality with full of energy. The balance between forms and empty spaces creates the melody. The forms are fluttering in the space like our modern satellites around the planet. These forms are weightless and heavy, sharp and smooth, moving and still, live and dead, aged and young.

His experience of understanding of nonobjective art as an academician is reflected in his work.

 I think that the paintings of the above mentioned maestro have a somewhat unique technique to apply the pigments on canvases. The technique of colour application is an unavoidable aspect of nonobjective art, at least in the case of Indian art. The colour application by using knife for impasto is common... Some are using printing rollers… some are using printing squeeze technique… some painters hit the colours with a mighty splash… some create effects by dropping dots from a distance on paint surface; In short, every artist has developed a method to apply colours on canvas. These techniques help artists to create signature visual formal language. Repetition of technique is considered as an important aspect of the artists’ style. Many artists usually repeat the techniques, like chanting mantra popularly called as ‘Avartana’; though colour pallets are changing. In this regard, another feature we can observe is the creative design pattern developed, created or adopted by non- objective artist. 

The pattern becomes the signature of an artist. At the beginning of the artist’s career, he or she researches in visual possibilities, makes combinations, tries amalgamations. After a certain level, he or she achieves some known-unknown visual efforts and introduces the same as his work of art. After all types of success, the artist starts repetition of his visual discovery… the formal research. The experimentation and research becomes minor and the technical craft as well as production becomes major part of the artistic creation. I would like to raise a question that ‘whether these repetitions or ‘Avartana’ are fine for artists and art?’ The answer may not be in black and white… but the question is a reality.

 Dr. Nitin Hadap

Art Open Talk Montosh Lall and Ganesh Tartare 

Link to Play


Solo show @dr_ganesh_tartare


18th October 2022

Time: 4:00 pm - 8:30 pm

Exhibition on view Time: 3:00 pm - 8:30 pm

19th - 28th October 2022 ( Holidays @Sunday close)

RSVP: +91 9820510599 / Nippon Gallery

Also view sale catalog on www.nippongallery.com

30/32, 2nd Floor, Deval Chambers,Nanabhai Lane, Flora Fountain, Fort,
Mumbai – 400 001, India.

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