The Yellow Church

“There was in his approach a conscientious effort towards formalisation. A favourite motif was the ‘House’, which conveniently lent itself to being divided into definite, regular, geometrical areas and generally built up his composition entirely [...] Gade has often subordinated everything to this one significant motif in his work. Some of his most outstanding paintings have been inspired by his love for the House, a fascination for construction. Indeed, the House has played such a significant role in his development as an artist that we may regard him as the originator in India of constructive landscapes.” (S.A. Krishnan, cited in Mumbai Modern, Progressive Artists’ Group 1947-2013, New Delhi, 2013, p. 179)