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T R P Mookiah (1934 - 2009)
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Lot 23
T R P Mookiah (1934 - 2009)
Estimate : 7,00,000 - 9,00,000

South Indian Artists of the 1950s and 60s are instinctively associated with the regional phenomenon of the Madras Art Movement and the ideological arc of “regional modern” inscribed by it. The Movement, which foregrounded nativism within the framework of its ‘modern’, shaped and nurtured some singular artists who grew to vastly benefit from its legacy. It also indifferently bred, along its margins, artists who neither deliberately espoused its ideals nor consciously assimilated its aesthetic values, but who engaged directly or indirectly with the milieu and mediums of the times. Painter and sculptor, T.R.P Mookiah, was one such artist who plied along the margins of an already marginalised regional movement.


T.R.P Mookiah was born in 1934 in the village of Ramasamipuram in the Ramnad district of Tamilnadu, where he and his cousin and fellow painter P. Perumal spent their childhood. Little is known about his early life in his native village, but it may be surmised, through his art, that he held a deep fascination for the rituals and festivals that characterise village life, perhaps himself participating in some of them. He was known to be a sensitive child who was moved by the adversities faced by the labour classes and the marginalised hill tribes,that he encountered in and around his village.


Although Mookiah is better known for his sculptures, for which he received considerable attention across India through group and solo exhibitions, awards and accolades, it was his paintings that first marked his trajectory and implicit role within the nativist framework. The impressions and memories he carried with him from the rural hinterlands remained his companion throughout the life that he eked out in the big city. Remarkably, although he continued to live in Chennai as an artist and a family man, only returning to his village occasionally, the nostalgia of his youthful remembrances (visceral and tactile) pervaded his art, forming the leitmotif of both is paintings and sculptures


Despite the heaviness of his paintings, there is a certain freedom to them, perhaps owing to the circular sweep of the composition, restless tonality and deliberate de-emphasis of individual definition. The coarseness of form and impressionistic quality lend his sculptures a similar quality of dynamicity.

Hammer Price :
3,20,000
+ Buyer premium (10 %)
 32000.00
Total
3,52,000
The lot has ended
  • Collection: Oleographs, Lithographs, woodcut prints, etching, and screen- and offset prints Collection: Oleographs, Lithographs, woodcut prints, etching, and screen- and offset prints
Description

South Indian Artists of the 1950s and 60s are instinctively associated with the regional phenomenon of the Madras Art Movement and the ideological arc of “regional modern” inscribed by it. The Movement, which foregrounded nativism within the framework of its ‘modern’, shaped and nurtured some singular artists who grew to vastly benefit from its legacy. It also indifferently bred, along its margins, artists who neither deliberately espoused its ideals nor consciously assimilated its aesthetic values, but who engaged directly or indirectly with the milieu and mediums of the times. Painter and sculptor, T.R.P Mookiah, was one such artist who plied along the margins of an already marginalised regional movement.


T.R.P Mookiah was born in 1934 in the village of Ramasamipuram in the Ramnad district of Tamilnadu, where he and his cousin and fellow painter P. Perumal spent their childhood. Little is known about his early life in his native village, but it may be surmised, through his art, that he held a deep fascination for the rituals and festivals that characterise village life, perhaps himself participating in some of them. He was known to be a sensitive child who was moved by the adversities faced by the labour classes and the marginalised hill tribes,that he encountered in and around his village.


Although Mookiah is better known for his sculptures, for which he received considerable attention across India through group and solo exhibitions, awards and accolades, it was his paintings that first marked his trajectory and implicit role within the nativist framework. The impressions and memories he carried with him from the rural hinterlands remained his companion throughout the life that he eked out in the big city. Remarkably, although he continued to live in Chennai as an artist and a family man, only returning to his village occasionally, the nostalgia of his youthful remembrances (visceral and tactile) pervaded his art, forming the leitmotif of both is paintings and sculptures


Despite the heaviness of his paintings, there is a certain freedom to them, perhaps owing to the circular sweep of the composition, restless tonality and deliberate de-emphasis of individual definition. The coarseness of form and impressionistic quality lend his sculptures a similar quality of dynamicity.

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