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Satki Burman

India (1935 )
BURMAN Satki Untitled (still-life)

Sotheby's
Oct 25, 2017
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Variants on Artist's name :

Sakti Burman

 

Artworks in Arcadja
313

Some works of Satki Burman

Extracted between 313 works in the catalog of Arcadja
Satki Burman - Twilight Dancer

Satki Burman - Twilight Dancer

Original 2010
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Gross Price
Lot number: 31
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Description:
Sakti Burman Twilight Dancer Signed 'SAKTi BURMAN' (lower centre); signed, inscribed and dated 'SAKTi BURMAN "TWi Li GHT DANCER"/ 2010' (on the reverse) 2010 Oil on canvas 10.25 x 7.75 in (26 x 19.9 cm) PROVENANCE Acquired from Art Musings, Mumbai From a Private Collection, Mumbai PUBLISHED B N Goswamy, Kishore Singh, Mrinal Ghosh eds., Sakti Burman: The Wonder of it All, Mumbai: Pundole Art Gallery and Chennai: Apparao Art Galleries, 2012, p. 198 (illustrated) Category: Painting Style: Figurative
Satki Burman - Untitled

Satki Burman - Untitled

Original
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Lot number: 81
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Sakti Burman Untitled Born in Kolkata in 1935, Sakti Burman studied at the Government College of Arts and Crafts, Kolkata, and later at the École Nationale des Beaux Arts in Paris. Burman uses pointillism and a marbling technique achieved by blending oils with acrylics to create fresco-like works on paper and canvas. Burman\’s paintings often evoke a surrealist feel, referencing multiplicities of time and place. His art drew extensively from Hindu and European... Born in Kolkata in 1935, Sakti Burman studied at the Government College of Arts and Crafts, Kolkata, and later at the École Nationale des Beaux Arts in Paris. Burman uses pointillism and a marbling technique achieved by blending oils with acrylics to create fresco-like works on paper and canvas. Burman\’s paintings often evoke a surrealist feel, referencing multiplicities of time and place. His art drew extensively from Hindu and European mythology, as well as from the artist\’s own memories. Suggesting surrealism, his paintings are populated by humans, animals and cityscapes that are dreamlike in appearance. His defining oeuvre owes largely to his technique of marbling, which he arrived at after years of experimentation. Burman travelled to Italy in 1958 and his encounter with the frescoes of Giotto, Piero de la Francesca and Simone Martini inspired him to assimilate their monumentality and textures in his works. The artist had his first solo exhibition in 1954 in Kolkata, and has since exhibited widely across the world including at venues like the Galerie des Beaux-Arts, Paris; Piccadilly Gallery, London; Galerie Doucet et Coutureau, Paris; Galleria Nuovo Sagittario, Milan; and Galerie Sagar, Zurich. Burman has participated in several shows, some of the most recent including The Beholder\’s Share by Jehangir Art Gallery and Art Musings in Mumbai in 2016; A Private Universe by Art Alive Gallery in New Delhi in 2015; Rituals and Reasons: Invoking the Sensual in Art, at Apparao Galleries in Chennai in 2014; The Wonder of it All, a retrospective exhibition by Pundole Art Gallery and Apparao Galleries in New Delhi, Mumbai, Kolkata and Chennai in 2012, Archetype and Enraputured Gaze at Aicon Gallery in London and New York in 2009; Faces of Indian Art organised by Art Alive at the Visual Art Gallery, New Delhi; Understanding Oneness in Diversity at Kitab Mahal, Mumbai; An Evening in Paris …Rome…London at Gallery Sanskriti, Kolkata; and Resonance organised by Art Musings at Museum Gallery, Mumbai, all in 2007. Burman was awarded the Medaille d\’Argent au Salon de Montmorency and the Prix des Etrangers, École des Beaux-Arts, Paris in 1956. Sakti Burman lives and works in Paris.
Satki Burman - Untitled (still-life)

Satki Burman - Untitled (still-life)

Original 1958
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Lot number: 73
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Description:
UNTITLED (STILL-LIFE) Sakti Burman B. 1935 Signed and dated 'SAKTI BARMAN / 58' upper right Oil on canvas 80.5 x 53.6 cm. (31 ⅝ x 21 ⅛ in.) Painted in 1958 Provenance Property from the Leicester Art Collection Acquired at a Grammar School Auction Catalogue Note This charming painting is from a very early period in Burman's career when he was still painting in a realist style and studying at the École nationale supérieure des Beaux-Arts. Paris in the 1960s was consumed by Nouveau Réalisme and the preoccupation of bringing painters and life closer together.One can see the influence of Western art in this work in particular the paintings and collagesof Juan Gris and other Cubists.These artists viewed the world as a pictorial image from which they could choose certain aspects and incorporate them into their art. A medley of fruit, leaves, glasswareand a flower vase sits in the forefront while instruments recede into the background. In later years, Burman developed and perfected an incredibly distinctive style of painting, full of fantastical creatures, set in stunning make-believe worlds and created with candy-like colours. In discussing the work, the artist mentioned that his early works were alternatively signed 'Barman' or 'Burman' (Correspondence with the artist, 2016). Sakti Burman was born in Kolkata and attended the Government Art College there. After graduating, he moved to Paris on a scholarship awarded to him by the French Government and he continues to livein Franceto this very day.
Satki Burman - Untitled

Satki Burman - Untitled

Original
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Gross Price
Lot number: 40
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Description:
Sakti Burman Untitled Signed 'SAKTi BURMAN' (lower left); signed again 'SAKTi BURMAN' (on the reverse) Circa 1980s Oil on canvas 18 x 23.75 in (45.8 x 60.4 cm) EXHIBITED: Sakti Burman 60's - 80's, New Delhi and Kolkata: Aakriti Art Gallery, 7-28 August and 6-21 November 2015 PUBLISHED: Mrinal Ghosh, Sakti Burman 60's - 80's, Kolkata: Aakriti Art Gallery Pvt. Ltd., 2015, p. 29 Category: Painting Style: Figurative
Satki Burman - Personnages

Satki Burman - Personnages

Original 1990
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Net Price
Lot number: 69
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Description:
Sakti BURMAN (Né en 1935) Personnages, circa 1985-1990 Huile sur toile, signée en bas 93 x 73 cm - 39 x 28 3/4 in. Oil on canvas, signed lower Le certificat rédigé par l'artiste en date du 5 avril 2017 sera remis à l'acquéreur BIBLIOGRAPHIE Oeuvre en rapport: Eden-Eden, 1965 Guy Vignoht, Sakti Burman. Fumel: Imprimerie de Blayac, 1984, repr. p.57 PROVENANCE Acquis en vente aux enchères en 1978 en Lorraine Conservé depuis, collection privée, Centre. Sakti Burman est né en 1935 à Calcutta, où il étudie les arts avant de gagner Paris dans les années 1950, grâce à l'obtention d'une bourse qui lui permet d'intégrer l'Ecole des Beaux-Arts, et d'y rester cinq ans. Souhaitant s'imprégner de la culture traditionnelle de son pays, l'appréhender à nouveau et de manière plus exhaustive, Sakti Burman regagne l'Inde à la fin de sa formation parisienne. Pourtant, l'artiste reviendra rapidement en France où il réside aujourd'hui depuis plus de cinq décennies. Les années 1960, celles du retour à Paris, voient le style si personnel de Burman éclore; hybridation entre iconographie indienne et occidentale, huiles sur toile éminemment décoratives naissent sous son pinceau inspiré. Une multitude de divinités, tant hindoues que bouddhiques, peuplent les compositions du peintre, illustrant mythes et contes de son Inde natale. Sakti Burman ne cessera jamais d'édifier un oeuvre onirique, à la croisée de l'imaginaire indien et de la tradition esthétique occidentale, et dont l'aspect décoratif répond aux exemples ornementaux de la Renaissance et du baroque ou du rococo. Il a souvent été souligné à quel point les créations de Sakti Burman semblent suspendues entre rêve et réalité; Luc Calvero insiste quant à lui sur l'invitation à la méditation que constituent ces compositions ô combien énigmatiques et envoûtantes. Ses peintures, bien qu'à la facture léchée, manifestent le souci omniprésent d'une application de la couche picturale avec une grande matérialité, voire en trompe-l'oeil. Sakti Burman opte pour une texture inédite convoquant les fresques qui recouvrent les grottes bouddhiques de son pays natal, comme celles d'Ajanta qu'il visite lors de son bref retour en Inde, à la fin de sa formation parisienne. Enfin, les couleurs se trouvent au coeur de la production de l'artiste; éclatantes, apposées dans le but de faire naître contraste ou harmonie, selon l'humeur et le sujet et la toile, Burman se plaît également à jouer sur les complémentaires, comme c'est le cas dans notre pièce. Du bleu confronté à l'orange naît bientôt une poésie visuelle relayée par la mise en scène fantasque de personnages inquisiteurs, dans un univers pseudo-marin à l'atmosphère mystérieuse. Sakti Burman was born in Calcutta in 1935, where he studied the arts before going to Paris in the 1950s, thanks to a scholarship that allowed him to attend the Ecole des Beaux-Arts for five years. Burman wished to immerse himself in his country's traditional culture and rediscover it more extensively after his stay in France, so he returned to India after his Parisian education. But he soon returned to France where he chose to settle and where he has been living for more than five decades. The 1960s, when he was back in Paris, was the decade in which Burman's style flourished. The hybrid melange of Indian and Western iconography and highly decorative oil paint on canvas was born. An array of Hindu and Buddhist divinities fill the painter's compositions, illustrating the myths and tales of his native India. Sakti Burman has never stopped fashioning dreamlike compositions at the crossroads of Indian fantasy and traditional Western aesthetics. Their decorative aspect corresponds to the ornamental characteristics of the Renaissance, the Baroque, and the Rococo. Attention is often given to the extent to which Sakti Burman's creations appear suspended between dreams and reality. Luc Calvero, on his part, insists on how these enigmatically captivating compositions encourage meditation. Despite their smooth finish Burman's paintings demonstrate constant concern for applying paint in very material layers, at times in trompe l'oeil. Burman uses unusual texture which recalls the frescoes that cover the Buddhist caves of his native country, such as those of Ajanta which he saw during his brief return to India. Lastly, colors are a core feature of Burman's art. Vivid and applied in order to create either contrast or harmony, depending on the painting's subject and mood, Burman also likes to use complementary colors, as is the case in our painting. From the contrast between blue and orange, a visual poetry arises which is further conveyed by the staging of inquisitive, fantastical characters, 69 in an almost marine world of mystery
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