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拍品专文
"The formal simplicity, bold rapid lines and expressive contours are some of the most striking features in Roy's pictorial language. His monumental images of sari clad women, dancers, Madonnas, Christ and animals are a combination of the playfulness of folk art and the formal strengths of academic training he underwent under Abanindranath Tagore at the Government School of Art in Calcutta.
Rudi Von Leyden, the Bombay-based Austrian critic noted that Roy's studio in Calcutta had become a haven for many foreign visitors and one of them paid tribute to Roy at a radio broadcast for revealing that good art had an innate simplicity which enabled one to appreciate 'art' and its color and composition without difficulty. Leyden further noted that through extreme simplification and concentration on essentials Roy's paintings achieved the significance of the symbol, easily recognizable, understandable, and almost unchanging and universally valid."
(excerpt from Partha mitter, The Triumph of Modernism: India's Artists and the Avant-garde 1922-1947, Oxford University Press, New Delhi, 2007)
Rudi Von Leyden, the Bombay-based Austrian critic noted that Roy's studio in Calcutta had become a haven for many foreign visitors and one of them paid tribute to Roy at a radio broadcast for revealing that good art had an innate simplicity which enabled one to appreciate 'art' and its color and composition without difficulty. Leyden further noted that through extreme simplification and concentration on essentials Roy's paintings achieved the significance of the symbol, easily recognizable, understandable, and almost unchanging and universally valid."
(excerpt from Partha mitter, The Triumph of Modernism: India's Artists and the Avant-garde 1922-1947, Oxford University Press, New Delhi, 2007)