Page 12 - S H Raza Retrospective Catalogue July 2020

work. 17
the
artist’s personal life. As early as 1950, Raza had met
the
Canada,
name
of
followed,
the
her—he
her
and
own
a
shared
Raza
from
to
found
Critique
win
his
a
regards
his
him
he
in
UK,
approach
Invitations
relieve
to
soon
He
in
and,
whom
made
artist
la
interested
the
Beaux-Arts.
with
de
Paolo
clothes,
did
Germany,
and
Prix
non-French
to
with
scene.
significant
Sao
afraid
prize
words, “had a piteous face.”
worries
the
became
Mongillat,
good
and
des
received
art
too
The
Italy,
also
financial
Venice
for
international
École
first
was
also
prize.
Janine
money
in
was
Raza
but
the
USA
galleries
the
at
immediate
prize
biennales
beautiful,
at
artist
coveted
1956
became
the
no
studio
the
The
and
and
had
the
In
in
7 talked They art. over bonded Janine and Raza working their and inspirations their about from graduating after touch in kept They methods. relationship their years the over and École the that seemed it Raza to but intense, more became financial his as it of out come would much not the However, frigid. and astute were matters much that was Critique la de Prix of winning material his improved which boon needed The artist photographed in Paris in hand Janine’s ask to able was he an
paper, 195 a
in, Oil on into But far had Indian started Cézanne, after canvas Raza’s tell can period—for visual his in memory enhancing obscurity: the of into fuse as space further until
21 thrown do Raza the new of time, colour
x written—Raza to by turpentine on whether one a explored a glance is recesses shadows sense a
Untitled 14.5 , is “One France masters, inspired in impression tell What this from to out not through each There dark and the at another
wrote, had George in not the from was He brush his each to hard is similar. paintings example Chapelle Bleue or Eglise, Calvaise-Breton reaching had They were executed with the intent to capture the though, glances, picture. the into surfaces convey pigment one of addition
Soupault was “I , Learning landscapes. dipped that so It one. was method at were Raza that as through the disappear their They patch. created the the shape of an image was arrived at.
Philipe Another critic, Waldemar George, writing in the late 50s stated ‘ thought”—as stating it.” 16 famously stroke, fresh a working looking they that territory watercolours of India. countryside generated grading buildings or night, dark something by delineated
reviewer, Indian recorded live to and who each was while is and blue one 10
The of was also art, —“constructing”—French
positive. “wellsprings Raza French
were and they their context, in past his European help — William as well as Eugene In Ucello. show and were the from things. experience painting
landscapes watercolour mainland; from bearings his his acknowledged modernism Hoffman, like group first Souza show the refreshment other to here began
in Indian geographic giving them a sense of timelessness. amalgamated with artists Paulo his with Padamsee at the Galerie St. Placide. to world unknown by these works.” 15 onto and
early the abstracted found He Western Hans de Kooning, Mark Rothko; and held along reactions moved was I oils
his executed he he experiences he 1952 drawing in Paysage, 24 x 24 in, Acrylic on canvas, 1965
While deftly depicted were immediate Once France, learnings. from Cézanne, medieval Queston France, in Overall from already miniatures! working