Artists had shattered the looking glass; everything became possible, everything was considered anew, the imaginary knew no bounds. From the body’s rebound iridescence followed on the iridescence of hearts. No one particular vision dominated, no not trend became established, neither the subject nor the order. And so artists became messengers of the freedom born of art. Words became mere vehicles to name them; there was no longer a school; only man’s ceaseless quest, hand-almost outstretched to forms which blossom and fade away into infinity and uncertainty, joy and sorry, everlastingly transcendent.
But any question is a birth, and modern art is an immense birth – or perhaps a rebirth – in our destiny made up of a thousand facets, and comprehension of it will doubtless be no more than a second coming – the final reconciliation towards which today’s path beckons us. India too is no exception to it, with its own particular spirit, its ways and its approach, both tending towards truer being and richness of life. Freedom is liberation. Not far away flows the Ganges’ where light also dissolves the confines of the infinite.
The advent of Industrial society at the end of the 19th century led to a profound transformation in the life of individuals, their social relationships, their mindsets and their sensibilities. World across, artists focused and concentrated on new perceptions of the world in the sphere of the senses. These big changes consisted in giving up perspective, contrary to other cultures.
The concept of an objective world in which each element has its place gave way to a more subjective view in which men, objects and environments mix together in the painting in terms of light to become no more than a play of colours. Parallel to the primary colours in such a way that their blending together is no longer done on the canvas but in the eye of the spectator. Just one stop beyond, the colour thus liberated broke away totally from the subject. At the same time, the invention of photography released painting from its function of description. Henceforth, objects were portrayed simultaneously from the front, from above, and from beyond.
Imagination and analysis were added to simple perception. Gradually the idea gained ground that a work of art need not be anything but a play of colours and forms. Because of the progressive disappearance of religion and of symbolic forms shared by society in general, artists showed increasing interest in objects created by other civilisations. This interest extended to other ways of thought. The intrusion of the machine into all sectors of production was echoed by the predominance of geometrical forms, of movement, and by the exaltation of the poetry inherent in the everyday object. Even more than that, the idea that a work of art can only be created from what are called ‘noble’ materials was replaced by the idea that any matter whatsoever, any existing object, no matter how simple and bare, could be claimed by the artist in order to create a work of art.
- The artist at work
- Boch & Fernsh Offices, Mumbai
- The paintings in the Directions in Design Inc office
- The “Great Indian Council of 1833” and “Advent of the Pioneer, 1851” murals are reunited at the Chicago Loop Station
- Conference room installation for ODW Logistics
- One of two Robert Marshall paintings at Gillespie, Shields & Durrant law office in Phoenix
- Dr. David Birdwell, DDS, Orthodontic Arts office
It was this vast exploration of the manifold possibilities offered by the manipulation of forms and colours that was undertaken in the context of modernity.