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Lot Essay
“There is already a lot of misery in this world, I do not want to add to it. I paint because I derive pleasure from painting and I try to give pleasure to others. That is my philosophy of art." (Artist Statement, A. Jhaveri, 101: A Guide to Modern and Contemporary Indian Artists, Mumbai, 2005, p. 19)
Narayan Shridhar Bendre was interested in the depiction of joy and the charms of rural India. He began his career as an artist in the 1930s, in Indore by painting idyllic landscapes which remained an important part of his oeuvre. In this lyrical work, Bendre veers away from the strictures of Academic Realism, championing instead the Modernist idiom of Post- Impressionism, consequently painting a picture as emotive as it is narrative. Beginning in the 1970s, Bendre began experimenting with his own version of Pointillism, where the image is created with the use of pixel-like dots and small horizontal brushstrokes, and emphasis is placed on recording the artist's overall impression and the emotions of a scene. "[...] for me, the creative process begins with the blank canvas, by the dabbing of paint on it, the aim being to catch the overall impact of the total image conceived." (Artist statement, R. Chatterji, Bendre: The Painter and the Person, Singapore, 1990, p. 63)
Narayan Shridhar Bendre was interested in the depiction of joy and the charms of rural India. He began his career as an artist in the 1930s, in Indore by painting idyllic landscapes which remained an important part of his oeuvre. In this lyrical work, Bendre veers away from the strictures of Academic Realism, championing instead the Modernist idiom of Post- Impressionism, consequently painting a picture as emotive as it is narrative. Beginning in the 1970s, Bendre began experimenting with his own version of Pointillism, where the image is created with the use of pixel-like dots and small horizontal brushstrokes, and emphasis is placed on recording the artist's overall impression and the emotions of a scene. "[...] for me, the creative process begins with the blank canvas, by the dabbing of paint on it, the aim being to catch the overall impact of the total image conceived." (Artist statement, R. Chatterji, Bendre: The Painter and the Person, Singapore, 1990, p. 63)