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拍品專文
Kattingeri Krishna Hebbar, born in Karnataka in 1911, attended the Sir J.J. School of Art in Bombay, where he eventually served as instructor in the 1940s. Following his initial education and practice in India, Hebbar travelled to Paris to pursue training under the auspices of the Academie Julian. Exposed to a wide range of visual idioms, Hebbar combined Indian and Western influences in both his style and the subjects he chose to portray.
Early in his career, Hebbar rejected the academic realism that he was initially trained in for a more personal style that combined Indian folk art with modern painting techniques. Influenced by traditional Indian art including music, dance and miniature painting, as well as the work of artists like Amrita Sher-Gil and Paul Gauguin, Hebbar's unique painterly idiom is born of a complex process of observation, integration and redefinition. As he noted, "I strive to absorb and assimilate principles from India's classical and folk art that I find valid for my work and to apply the varied conceptions introduced into picture-making in the West during the past 100 years. My objective is to communicate my emotional reactions and interpretations of selected aspects of life and nature by means of drawings and paintings." (S.I. Clerk and K.K. Hebbar, 'A Memoir on the Work of a Painter in India', Leonardo, Vol. 11, No. 1, 1978, p. 6)
In this 1987 painting, Hebbar uses a restrained palette of blues and yellows to portray a peacock, India's national bird. Perched on a wall with its resplendent tail ready to unfurl, the bird is haloed by the golden light of the sun behind it. Tipping its head to the sky, the peacock is a recurrent motif in the artist's oeuvre, representing the sense of joie de vivre that Hebbar valued throughout his career.
Early in his career, Hebbar rejected the academic realism that he was initially trained in for a more personal style that combined Indian folk art with modern painting techniques. Influenced by traditional Indian art including music, dance and miniature painting, as well as the work of artists like Amrita Sher-Gil and Paul Gauguin, Hebbar's unique painterly idiom is born of a complex process of observation, integration and redefinition. As he noted, "I strive to absorb and assimilate principles from India's classical and folk art that I find valid for my work and to apply the varied conceptions introduced into picture-making in the West during the past 100 years. My objective is to communicate my emotional reactions and interpretations of selected aspects of life and nature by means of drawings and paintings." (S.I. Clerk and K.K. Hebbar, 'A Memoir on the Work of a Painter in India', Leonardo, Vol. 11, No. 1, 1978, p. 6)
In this 1987 painting, Hebbar uses a restrained palette of blues and yellows to portray a peacock, India's national bird. Perched on a wall with its resplendent tail ready to unfurl, the bird is haloed by the golden light of the sun behind it. Tipping its head to the sky, the peacock is a recurrent motif in the artist's oeuvre, representing the sense of joie de vivre that Hebbar valued throughout his career.