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Sailoz Mukherjee (b. 1906 - 1960)
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Lot 7
Sailoz Mukherjee (b. 1906 - 1960)
Estimate : 25,00,000 - 40,00,000

This lot by Mookherjee depicts a rural scene with simplified forms of men and women walking past a water tank that is situated beneath a tree and casually dipping their fingers in the water. It also depicts a single male figure seated amidst vessels atop a structure that is adjacent to the tank, albeit at a height. It is interesting to note that the entire work has been composed diagonally, using unrealistic perspective almost as if the subjects were “zoomed in”—i.e., filling the frame. Indeed, the artist’s technique of using rough, broad brushstrokes and patches of colour in a spontaneous, painterly manner and with minimal use of lines while creating this work, adds to this sense of expansion of the element of space. 


It is obvious that this is not a traditional academic composition, that it is a unique attempt (one of the earliest) in developing a Modernist aesthetic using Indian subject matter and western techniques. After all, Mookherjee was one of the initial group of Indian painters who studied and trained abroad in the pre-Independence era. According to the critic Richard Bartholomew, the artist attempted to “fuse together the fluid technique in oils with the characteristically Indian attitude to nature.” And that one saw the “influence of Matisse,” and the Pahari school of miniature painting in his works which were “lyrical” in style.


Reference:

Richard Bartholomew, Geeta Kapur, The Art Critic, ed. Rati Bartholomew, Carmen Kagal, Pablo Bartholomew (BART, 2012).

Hammer Price :
26,00,000
+ Buyer premium (0 %)
 0.00
Total
26,00,000
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

This lot by Mookherjee depicts a rural scene with simplified forms of men and women walking past a water tank that is situated beneath a tree and casually dipping their fingers in the water. It also depicts a single male figure seated amidst vessels atop a structure that is adjacent to the tank, albeit at a height. It is interesting to note that the entire work has been composed diagonally, using unrealistic perspective almost as if the subjects were “zoomed in”—i.e., filling the frame. Indeed, the artist’s technique of using rough, broad brushstrokes and patches of colour in a spontaneous, painterly manner and with minimal use of lines while creating this work, adds to this sense of expansion of the element of space. 


It is obvious that this is not a traditional academic composition, that it is a unique attempt (one of the earliest) in developing a Modernist aesthetic using Indian subject matter and western techniques. After all, Mookherjee was one of the initial group of Indian painters who studied and trained abroad in the pre-Independence era. According to the critic Richard Bartholomew, the artist attempted to “fuse together the fluid technique in oils with the characteristically Indian attitude to nature.” And that one saw the “influence of Matisse,” and the Pahari school of miniature painting in his works which were “lyrical” in style.


Reference:

Richard Bartholomew, Geeta Kapur, The Art Critic, ed. Rati Bartholomew, Carmen Kagal, Pablo Bartholomew (BART, 2012).

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