Important Notice

The Christian theme of the present lot is an unusual choice of subject for Tyeb Mehta. In 1959, Mehta had moved to London and would spend the next five years there. Crucifixion, painted in 1959, is from his time in England, which was in the throes of the post-war atmosphere of angst in Europe. But for Mehta personally, this was "a period of considerable rejuvenation. Among the works of major artists, Tyeb was influenced by Francis Bacon whose... The Christian theme of the present lot is an unusual choice of subject for Tyeb Mehta. In 1959, Mehta had moved to London and would spend the next five years there. Crucifixion, painted in 1959, is from his time in England, which was in the throes of the post-war atmosphere of angst in Europe. But for Mehta personally, this was "a period of considerable rejuvenation. Among the works of major artists, Tyeb was influenced by Francis Bacon whose consciousness of anguished humanity expressed in grotesque imagery made an impact on him." (Yashodhara Dalmia, Tyeb Mehta: A Triumph of Vision, New Delhi: Vadehra Art Gallery, 2011, p. 7) In subject matter too, perhaps his unusual choice reflects the influence of Christian themes of resurrection and redemption that were predominant at the time.

The element of human suffering that was the defining essence of Mehta's bulls, rickshaw pullers and falling figures which he would begin painting in 1965, is already palpable in this work. Mehta's life was indelibly marked by the Partition. The sectarian violence remained the underlying element in his oeuvre. In its depiction of the crucified Christ fi gure, the present lot evokes notions of reigned-in violence which Tyeb sought to present throughout his career. During his time in Europe, Mehta was also drawn to the writings of Camus and Sartre, and the notion of the Absurd, which were so urgently explored by artists and writers in the post-war climate. Perhaps Mehta found a co-relation in India's own struggle for Independence.

Mehta's impasto-laden brushwork from this time, as seen in the present lot, "was typified by a direct rendering of experience on the surface. His paintings in sombre tones could loosely be termed expressionistic and articulated the fate of individuals who were in some way cornered by fate. The thickly stroked paint would layer the surface with a heavy patina of disquiet... A compressed battle would ensue also between the figure and the space surrounding it..." (Dalmia, p. 5) The figure of Christ provides the ideal subject matter for Mehta to explore his own ideas of disquiet, and that moment of tension just before violence occurs which embodies the fundamental core of his art.

Read More
Artist Profile
Other works of this artist in: this auction  |  entire site