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Lot 14

 

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Although credited as the key Abstract Expressionist of modern Indian art, V S Gaitonde’s approach to the movement was contradictory– he firmly believed that there was no such thing as abstract art. To him, his work was far removed from the confines of this category. He considered his art to be non-objective and non-conformist fuelled by unceasing experimentation. “In the dogged fidelity to an idea and its execution, Gaitonde’s standing in Indian... Although credited as the key Abstract Expressionist of modern Indian art, V S Gaitonde’s approach to the movement was contradictory– he firmly believed that there was no such thing as abstract art. To him, his work was far removed from the confines of this category. He considered his art to be non-objective and non-conformist fuelled by unceasing experimentation. “In the dogged fidelity to an idea and its execution, Gaitonde’s standing in Indian art is unique, as is his contribution in plotting the graph of one stream of Indian modernism.” (Gayatri Sinha quoted in Giridhar Khasnis, “The Silent Maestro,” Deccan Herald, 2014, online)

The early 1960s marked the period when Gaitonde began experimenting with pigment, light, and texture, while working out of a small studio at the Bhulabhai Desai Memorial Institute in Mumbai. Influenced by Zen philosophy and the principles of minimalism, the artist’s works on paper and canvas from this period are underlined with an innate lyricism and mystery that feed into his ‘non-objective’ paintings ideology. During this deeply defining decade of his career, Gaitonde “…gradually eschew[ed] the accidental element in his work…There is an evocative power in these paintings which operates on more than one level: there is a sense of atmosphere, there is an approximation of music and, what is most important, there is a throbbing mystery about the very process of viewing and responding as if one is sucked into some still centre of hitherto unknown experience.” (Dnyaneshwar Nadkarni, Gaitonde, New Delhi: Lalit Kala Akademi, 1983).

The present lot, painted in 1962, is an early work of the artist’s ink paintings on paper. A sublime work of art, this piece bears testament to the pensive nature of Gaitonde’s process. As explained by artist Prabhakar Kolte, the artist would come out onto the lawns of the Bhulabhai Institute and spend “…hours on end staring at the infinite vastness of the sea before him…A very important element that may have attracted his attention may have been the horizon. You can see it but it does not actually exist…If you take one step towards it, it takes one step back…It was probably this play of experiencing infinity that pushed Gaitonde back into the womb of that imaginary, evasive line.” (“Husain and Gaitonde,” From Art to Art - Essays and Critique by Prabhakar Kolte, Bodhana Arts Foundation, Mumbai, 2008, p. 80)

V S Gaitonde’s irrefutable legacy lies in his uniquely artistic sensibility and meticulous technique, marking his resolute presence within the canon of Indian and global art. Although his work went largely unrecognised during his career, it seldom hindered Gaitonde’s artistic growth, resulting in a metamorphosis of his oeuvre over the course of his lifetime.

The 1980s heralded a shift, fuelled by an accident which caused the artist to take a hiatus from painting on canvas. However, as with the evolutionary nature of his work, Gaitonde turned to smaller format works on paper. These works, which explored the visual possibilities of lines and calligraphy, were “linear signatures which intrigue, hypnotise and evoke a mood of prayer.” (Dnyaneshwar Nadkarni quoted in Meera Menezes, Vasudeo Santu Gaitonde: Sonata of Solitude, New Delhi: Bodhana Arts and Research Foundation, 2016, p. 188)

Gaitonde’s engagement with these forms stemmed from his continued interest in Zen philosophy; his keen interest in Indus Valley or Harappan script saw an emergence of a cypher within his work. As put forth by Meera Menezes, “For Gaitonde, painting was... a deep inner investigation.” (Meera Menezes, Vasudeo Santu Gaitonde: Sonata of Solitude, New Delhi: Bodhana Arts and Research Foundation, 2016, p. 187) As seen in the present lots 12-14, this introspection allowed him to test the possibilities of form through technique. The deliberately burned edges of the paper evoke associations with parchments alluding to an ancient past.

Through this, Gaitonde masterfully retains the enigmatic nature of his work while circling back to his non-conformist axiom. According to Sandhini Poddar, “His ink drawings from 1985-87... form an important part of his overall oeuvre and consist of nonmimetic calligraphic and hieroglyphic markings made with spontaneous gestures and rhythmic movements. The draftsman of old returns in these works, and encounters the artist who has complete control over cadence, tonality and scale. Here form meets nonform, presence meets absence, and movement meets stillness.” (Sandhini Poddar, V S Gaitonde: Painting as Process, Painting as Life, New York: The Solomon R Guggenheim Museum, 2014, p. 31).

INSIDE THE SERGIOS’ COLLECTION

Réne and Barbara Sergio moved to India at the start of 1993, when the company Réne was working for, Hoechst AG, decided to transfer him in the wake of expanding business. Réne was presented with a choice back then to transfer to one of the five shortlisted countries, among which India was an option. However, for the couple, there was one clear answer – India was to be their new home, albeit for a short while.

It proved to be the right decision, as a four-year transfer period turned into a twelve year long stay in the country. During their time in Mumbai, then Bombay, the couple were acquainted with numerous galleries and private collectors, thanks to their longstanding friendship with famed collector, Kavas Bharucha.

Following their foray into the world of modern Indian art, Réne found himself spending his Saturdays at galleries in Mumbai and Kolkata. It wasn’t long before the couple began to build their own sizeable collection, which included works by M F Husain, Jamini Roy, Ram Kumar, Somanth Hore and F N Souza, among others. Their deep appreciation for modern Indian art was further fuelled by the works of V S Gaitonde, who had a profound impact on the Sergios. Réne’s admiration for the artist’s oeuvre was so well known, that the company he worked for gifted him the present lot for his years of service.

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