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"I am essentially a colourist and my paintings have a subdued atmosphere about them. There is no attempt at mass colour effects; only soft delicate washes of two or three colours in their graded tones. This has a pleasing effect on your aesthetic sense.” Saradacharan Ukil’s art is as far removed from the world of harsh realities as possible. He employed a style derived from the early paintings of the Mughals to depict a wide array of...
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"I am essentially a colourist and my paintings have a subdued atmosphere about them. There is no attempt at mass colour effects; only soft delicate washes of two or three colours in their graded tones. This has a pleasing effect on your aesthetic sense.” Saradacharan Ukil’s art is as far removed from the world of harsh realities as possible. He employed a style derived from the early paintings of the Mughals to depict a wide array of subjects, ranging from the Buddhist and Muslim faiths to the myths that are so liberally found in Indian literature, to the glories of the seasons. Sarada Ukil, as he was popularly known, was a representative of the neo-Bengal school of art. His canvases were peopled with romanticised figures that are reminiscent of a bygone era. Painting mainly with watercolours, Sarada Ukil utilised the wash technique to good effect to lend to his works a lyricism and poetic imagery, which is the hallmark of the disciples of Abindranath Tagore. Bright colours and bold, vigourous brush strokes marked his earlier efforts, but with time, his canvases became more muted and less sharply delineated. Men and women, gods and goddesses and nature were all etched with loving detail in Ukil’s paintings. The women, especially, were idealised. With gentle, ethereal and with bewitching faces, they became the living embodiment of many a male dream. Another favourite with Sarada Ukil was the Buddha, as seen through the various tales and legends that comprise the Jataka tales. His paintings of the Buddha impressed D. B. Dhanpala of Ceylon so deeply, that he hailed him as a great painter of Buddhas. Sarada Ukil also excelled in the art of painting on silk, prime examples of his work being ‘The Death of Jatayu’, ‘Krishna Teaching Flute to Radha’ and ‘Winter’. One of the most influential figures in the world of art in the ‘20s and ‘30s, Sarada Ukil was born in 1890 in Bikrampur, Bangladesh. He was among the first batch of students to study under the tutelage of Abindranath Tagore at the Government College of Art in Calcutta. He moved to New Delhi in 1918 to join the faculty of the Modern School and eight years later, he and his brother Barada Ukil founded the Sarada Ukil School of Art, the first of its kind in the capital. Sarada Ukil and his brother were instrumental in propagating the Bengal school of art through the country and he continued to work for this until his demise in 1940.
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Born
1888
Died
1940
Education
Government School of Art, Calcutta, 1914.
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