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Dimensions: 43.0 inch X 34.0 inch
Oil Paintings: Indian Oil Paintings & Oil On Canvas @ExoticIndiaArt
Oil on Canvas - Artist: Anup Gomay
This painting, something like a group-portrait of variously clad three village women of varying ages, is in truer sense the portrait of Rajasthan, the land manifesting in its colours, colourful costumes and in a culture of elegance and rich lifestyle the apex of which revealed in the life of Rajput princes, and its bottom-point, in the life of the common man, sweeping its streets or doing any petty thing, in this common mans fascination for colourful costumes and in his commitment for the quality of life. Geographies world-over discovered their cultures, Rajasthan is a land where a culture discovered its geography. Strangely, for portraying the real face of Rajasthan the painter has chosen a formless monochromic blunt background which gives no idea of the character of the land, its geographical distinction, type of architecture, a fort, palace, pond, garden or resort, the land of Rajasthan abounds in, or of the lands stately grandeur which has always astonished the world with its unique lustre, and against this blunt background three of its inhabitants painted. He has discovered his Rajasthan, the truer one, wide-spread, and timeless, in the style of these inhabitants costumes, mode of wearing them, character of textile, type of ornaments, facial features and even in their strongly cast anatomy. Not merely that they belong to Rajasthan, it is in them that the artist has perceived Rajasthan manifesting. This cult of discovering a land, or the lands identity, in common man or common woman, or the common mans emergence as an art theme, again a subtle departure from the miniature art tradition, was a spectacle of the later half of the nineteenth century when influenced by European Industrial Revolution and Renaissance the dignity of common man was realized for the
Oil Paintings: Indian Oil Paintings & Oil On Canvas @ExoticIndiaArt
Oil on Canvas - Artist: Anup Gomay
This painting, something like a group-portrait of variously clad three village women of varying ages, is in truer sense the portrait of Rajasthan, the land manifesting in its colours, colourful costumes and in a culture of elegance and rich lifestyle the apex of which revealed in the life of Rajput princes, and its bottom-point, in the life of the common man, sweeping its streets or doing any petty thing, in this common mans fascination for colourful costumes and in his commitment for the quality of life. Geographies world-over discovered their cultures, Rajasthan is a land where a culture discovered its geography. Strangely, for portraying the real face of Rajasthan the painter has chosen a formless monochromic blunt background which gives no idea of the character of the land, its geographical distinction, type of architecture, a fort, palace, pond, garden or resort, the land of Rajasthan abounds in, or of the lands stately grandeur which has always astonished the world with its unique lustre, and against this blunt background three of its inhabitants painted. He has discovered his Rajasthan, the truer one, wide-spread, and timeless, in the style of these inhabitants costumes, mode of wearing them, character of textile, type of ornaments, facial features and even in their strongly cast anatomy. Not merely that they belong to Rajasthan, it is in them that the artist has perceived Rajasthan manifesting. This cult of discovering a land, or the lands identity, in common man or common woman, or the common mans emergence as an art theme, again a subtle departure from the miniature art tradition, was a spectacle of the later half of the nineteenth century when influenced by European Industrial Revolution and Renaissance the dignity of common man was realized for the
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