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Lot Essay
In early 1953, Krishen Khanna moved with his family to Madras. After a frenetic phase in Bombay, the calm and even pace of work at Grindlay’s Bank in Madras coupled with the slow social tempo of the city agreed with Khanna immensely and is reflected in his paintings from this period. “It was to be a period of personal contentment and greater lyricism than Krishen had ever expressed before in painting.” (G. Sinha, Krishen Khanna, A Critical Biography, New Delhi, 2001, p. 48)
In Madras, Khanna developed an interest in Carnatic music and attempted to transform the rhythm and lyricism of classical symphonies into brush movements on canvas. This style is reflected in works from this period which include urban scenes, sensuous nudes, hawkers selling fruit and water-carriers on streets. This painting, like many of his works from the 1950s, is rendered predominantly in a palette of white, brown and black. Khanna responded to the colors of Madras, the starched white of South Indian clothing, the strong southern light of the coastal city, and the dark brown-bodied figures baking in the sun. Here, two young men seated at a table having a conversation and drinking represent the languid pace of life he witnessed around him.
In Madras, Khanna developed an interest in Carnatic music and attempted to transform the rhythm and lyricism of classical symphonies into brush movements on canvas. This style is reflected in works from this period which include urban scenes, sensuous nudes, hawkers selling fruit and water-carriers on streets. This painting, like many of his works from the 1950s, is rendered predominantly in a palette of white, brown and black. Khanna responded to the colors of Madras, the starched white of South Indian clothing, the strong southern light of the coastal city, and the dark brown-bodied figures baking in the sun. Here, two young men seated at a table having a conversation and drinking represent the languid pace of life he witnessed around him.