.jpg?w=1)
Lot Essay
Having spent time in the studio of sculptor Phadke, as a child Sadanand Bakre developed an early interest in art making small figurines from the leftover clay thrown aside by the artist. At the age of 19, he joined the Sir J.J. School of Arts, Mumbai during which time he was introduced to European and American Modernism by the art critic Rudi von Leyden which became central to his practice. Forming close associations with other students of the college, Bakre was a founding member of the Progressive Artists Group (PAG) along with Francis Newton Souza, Maqbool Fida Husain, K.H. Ara, H.A. Gade and Syed Haider Raza. He participated in the first exhibition of the PAG in 1949 where his works received considerable attention for their 'free-flowing form and unconventional shapes' (Yashodhara Dalmia, The Making of Modern Indian Art - The Progressives, Oxford University Press, New Delhi, 2001, p. 190 -191).
In 1950 Bakre moved to England along with fellow artist, Laxman Pai. London offered a range of new possibilities for him and the ready availability of painting material meant he could paint more frequently. While he held a number of small jobs including that of a hospital porter, Bakre continued to paint and sculpt, influenced by the jagged and repetitive style of the British Vorticists along with sculptors of the time including Jacob Epstein and Henry Moore. The 1960s are often considered the most important period for his oeuvre and a close link became visible between his paintings and sculptures with their bold geometric lines. "I paint as I like. It is a compelling passion with me to keep alive and I cannot help painting or sculpting. I am traditionally trained and perfectly capable of accomplishing completely realistic work. But my interest in forms has gone far beyond the dull imitations of subject matter, which to me is almost unimportant." (S. Bakre, All Art Is Either Good or Bad, Free Press Bulletin, March 24, 1965)
In 1950 Bakre moved to England along with fellow artist, Laxman Pai. London offered a range of new possibilities for him and the ready availability of painting material meant he could paint more frequently. While he held a number of small jobs including that of a hospital porter, Bakre continued to paint and sculpt, influenced by the jagged and repetitive style of the British Vorticists along with sculptors of the time including Jacob Epstein and Henry Moore. The 1960s are often considered the most important period for his oeuvre and a close link became visible between his paintings and sculptures with their bold geometric lines. "I paint as I like. It is a compelling passion with me to keep alive and I cannot help painting or sculpting. I am traditionally trained and perfectly capable of accomplishing completely realistic work. But my interest in forms has gone far beyond the dull imitations of subject matter, which to me is almost unimportant." (S. Bakre, All Art Is Either Good or Bad, Free Press Bulletin, March 24, 1965)