The Progressives flourished individually and collectively for a decade or so, from 1947–56. What was it that set apart all these maverick artists? A curatorial note to a 2009 show at the Museum of Fine Arts, Boston (MFA) had aptly pointed out: “Reacting against the conservative and nationalist precepts of the Bengal School, they wove principles of western modernism into the rich fabric of Indian art. This created a unique avant-garde identity.”
Much of the zest of the PAG evaporated when Souza left for London followed by Raza’s move to Paris. By the mid-fifties, artists with similar affinities (Krishen Khanna, Gaitonde etc) had joined it. Those like Padamsee, Tyeb Mehta and Ram Kumar in their respective stylistic preoccupations made a thrust towards modernism.
Recounting the chain of events, Raza had once reminisced: “This was a time with hardly any modern art in India. It was a period of utter artistic confusion between choosing western academic ideas and traditional Indian art, essentially springing from Renaissance. We hoped for a better understanding of art marked by a sense of searching.”
‘The Making of Modern Indian Art: The Progressives’ (Hardback; Rs. 3950; Publisher: The Oxford University Press) offered an elaborate documentation of their evolution. Providing an apt backgrounder, an introductory essay mentioned: “Around the time of Independence, emerged a group of artists who were to lead the way for Indian art in the decades to come. This group has given Indian art a new direction, infusing it with their distinctive styles and initiating the modernist movement in India. It’s a portrayal of the formative years of modern Indian art, when its parameters were being established.”
The PAG artists continue to thrive on the adulation, aura and appreciation that they have enjoyed over all these years. Reputed collectors of Indian art internationally including Rudy von Laden, Emmanuel Schlesinger, Kito de Boer, and Charles Herwitz have preferred them over many next-generation artists. Even collectors, who have recently arrived on the scene, continue to follow suit. As a result, the Progressives’ hold on the auction market has been rather firm. They occupy a large chunk of the secondary sales market.
Much of the zest of the PAG evaporated when Souza left for London followed by Raza’s move to Paris. By the mid-fifties, artists with similar affinities (Krishen Khanna, Gaitonde etc) had joined it. Those like Padamsee, Tyeb Mehta and Ram Kumar in their respective stylistic preoccupations made a thrust towards modernism.
Recounting the chain of events, Raza had once reminisced: “This was a time with hardly any modern art in India. It was a period of utter artistic confusion between choosing western academic ideas and traditional Indian art, essentially springing from Renaissance. We hoped for a better understanding of art marked by a sense of searching.”
‘The Making of Modern Indian Art: The Progressives’ (Hardback; Rs. 3950; Publisher: The Oxford University Press) offered an elaborate documentation of their evolution. Providing an apt backgrounder, an introductory essay mentioned: “Around the time of Independence, emerged a group of artists who were to lead the way for Indian art in the decades to come. This group has given Indian art a new direction, infusing it with their distinctive styles and initiating the modernist movement in India. It’s a portrayal of the formative years of modern Indian art, when its parameters were being established.”
The PAG artists continue to thrive on the adulation, aura and appreciation that they have enjoyed over all these years. Reputed collectors of Indian art internationally including Rudy von Laden, Emmanuel Schlesinger, Kito de Boer, and Charles Herwitz have preferred them over many next-generation artists. Even collectors, who have recently arrived on the scene, continue to follow suit. As a result, the Progressives’ hold on the auction market has been rather firm. They occupy a large chunk of the secondary sales market.
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