Page 11 - S H Raza Retrospective Catalogue July 2020

already his on that more him for western understand the were the With thus was works. life In passport.

had based lot a necessary in to what Raza his for working his Untitled (Paysage), 39.2 x 19.5 in, Acrylic on canvas, 1965

degree, territory was there became grounding French; and inceptions. France, context of most Indian his

certain visual Yet, It predominately stake their in modernist France was to make a strong impression on him, so spent up gave

a experience. thorough at for received he never
to his academia. were gnosis he a that
Raza, to a ideas create so he Yet

H synthesised formative had get modernism, what inspiring education to able much there.
would 1950 went tears; their amount about artist short Louvre. France painting pursuing 9
S he to The On the and with he de his his He

he October, Coelho. collage. he day of Gogh Van to him with architecturally, museum, construction an show a Within Musée the In where still thought miniatures. were
words—that of 2nd Pramela Matisse’s next The museum of works moved tranquility significant a the in the France could. the Guimet, and Art, work.” 13 the Beaux-Arts was Raza he that Indian Rajput,

his the and of was great!” the self-portrait “restored built spending painting was in weeks he as Modern with de interesting of and
to never leave his country. For even while away, his thoughts kept returning to India and he retained his citizenship. on seeing these he remarked, “The coordination of form and was Paumme—the saw were] this art Musée of What more, he saw all these museums without a guide so École Heuze. tradition Jain me, and willed me to do small paintings in gouache.” 14
true was Marseilles Padamsee there saw he masterly—it de he There Gogh Cézanne, they [for After Cézanne’s that realized which Cartier-Bresson had spoken to me.” 12 first his of much as the Museum encounter direct the at Edmond is it and the in miniatures,
Dhoop, 5.5 x 7.25 in, Oil on canvas, 1961 he sense, that reached Raza Akbar with along exhibition first was color Jeu the to Impressionists. Van A Cézanne. of paintings the lines, straight orchestration.” color studying time of “I remarked, account Raza’s see to eager visited he period the L ’Homme, a have “to as enrolled had Raza was teacher then, landscapes be to paintings “Indian writes,

to to there and in My leave odd was He his he the
had or family, house passed taken. to Delhi in is It diminished he conceive Raza’s figures. of

family India in side one my for tragedy my father be decided and stay, Kulkarni. not turmoil, H S wherewith stray time

Raza’s stay to ‘On history of those in died 1948, to had sister, Damoh, unbearable’. 8 have may to chose teacher could I in fecund. 1947, few a the

violence, whether recounted: personal were mother in year, decision my in climate become parents He his by India]. embroiled was period in place contained by

of decision As 1948 to my next Painful and them, the had his of Pakistan. after [in here was life that took that disappeared Janine, 8.75 x 7 in, Oil on board, 1959
background difficult Raza Pakistan. tragedy. 1947 1947 July the in of four because brother, loss the to go to looked [are] personal during exhibition landscapes

this the to national of years In early Mandala. in all Pakistan eldest that desire and roots “My leaving my country.” 9 his journey solo figures à
Against make move a was these separation. Bombay; away brothers, for my for reflect to Raza’s protected said, While artistic first displayed These met his 10 fact the by 8

also French exhibited Abdullah’s Cartier- should Cézanne.” Cartier-Bresson French Picasso—that Alliance weren’t the inspired paintings couldn’t. strokes other by

he when you at the artists Despite criticized his or violent
year acclaimed had Sheikh trip but Study at at. being T agore had never trained in that didn’t paintings

same the Raza of this gifted, with ook l Gauguin, French western looking manifesto to rich,

The invitation during are paintings. o t study But admitted noted writings their from

. Kashmir. “You interactions was had his with
shows Cartier-Bresson, in the on was It him, your was advice modernism—Cézanne, to Raza Bombay. Raza Progressives’ Raza and what paintings different revivalist Swadeshi artists.

Progressives’ Henri photographer landscapes government. told Bresson construct it Perhaps he t and motivated in Française ones only the School, Bengal Rabindranath T agore. 11 arts visual conveyed T agore’s very were

S H Raza in Paris the that