Christie's /Jun 11, 2013
€4,667.72 - €7,001.58
Artworks in Arcadja90
Some works of Vasudeo. S. GaitondeExtracted between 90 works in the catalog of Arcadja
Auction: Christie's -Sep 17, 2014 - New YorkLot number: 408
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Lot Description VASUDEO S. GAITONDE (1924-2001) Untitled signed and dated 'V.S. Gaitonde 71' and signed and dated in Hindi (on the reverse) oil on canvas 45 x 29 7/8 in. (114.3 x 75.9 cm.) Painted in 1971 Provenance Sakshi Gallery, Mumbai Acquired from the above Pre-Lot Text A painting always exists within you, even before you actually start to paint. You just have to make yourself the perfect machine to express what is already there. - V.S. Gaitonde View Lot Notes >
Auction: Bonhams -Sep 17, 2014 - New YorkLot number: 151
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Vasudeo S. Gaitonde (1924-2001) Untitled, 1961 Oil on canvas Signed and dated verso in Devanagari 40 x 49 in. (101.6 x 124.6 cm) Provenance: Akbar and Nikhil Padamsee 1961-63, acquired directly from the artist Morris Graves, acquired from Akbar Padamsee, June 1963 Morris Graves Collection, Humboldt Galleries, San Francisco, 24 October 1968, no. 6 George Gund III Collection, 1968-2013 Gaitonde's "Landscapes of the Mind" by Mamta Saran The two Gaitonde paintings in this catalogue, dated 1961 and 1963, were created at a dramatic turning point in the artist's career. Contemplating them, the word 'sublime' most naturally comes to mind. It is not surprising they were much prized by the major American artist Morris Graves, whose collection they were once a part of. Gaitonde's international reputation today is the result of his lifelong and uncompromising pursuit of excellence. His chosen path fraught with difficulties was his unwavering commitment to the idiom of abstraction. A journey he began in the early 1950s in India. His work of the 1950s was inspired by the European masters, but towards the end of the decade something happened that propelled him in a new and unexpected direction. In his later years he remarked, "In my life, the only thing I planned was joining art school. Everything else happened accidentally!" One such 'accident' was his finding a book on Zen Buddhism in a Mumbai bookstore in late 1959. It was providential, for the odds against him finding such a book in Mumbai at the time were high indeed. Zen was completely unknown in India. Even in the West, where some discussion among small groups of people had begun in the early '50s, it was generally considered alien, and barely comprehended. Zen came to Gaitonde at precisely the right moment in his life. To fully understand its message much is required a deeply introspective mind, a keen intellect and, most important, humility and a spirit of non-attachment. These qualities were ingrained in the artist and he felt an instant affinity with this ancient Eastern tradition. The impact of Zen on Gaitonde's work was immediate, long-lasting, and cannot be overestimated. It provided him and other artists who embraced it, like Graves a fresh perspective on creativity and the creative act. It also radically altered every aspect of his practice as a painter. This was to be a watershed moment in his life, and these paintings are a record of that experience. His gaze was now turned towards the Orient and its aesthetics, and it is from here that he drew inspiration over the next four decades of his life. Born in 1924, Gaitonde was in his late 30s when he created these paintings. Clearly, we see here an artist in full possession of his powers, speaking for the first time in a voice uniquely his own. The vibrant colours, heavy impasto, and rigorous geometry of the late '50s now gave way to contemplative works of the highest quality. The compositions are of utmost simplicity and the palette is derived from nature. Veils of overlapping colour irradiate the canvas creating an illusion of endless space and mystery hangs in the air. No sooner do the viewer's eyes alight on the canvas, he is drawn into it. The amorphous forms are suggestive, many viewers interpreting them as elements in a landscape or seascape. In fact, Gaitonde's work of the '60s has often been classified by critics as of the landscape genre. But the artist was not interested in representing nature. It takes a true artist like Morris Graves to perceive the heart of the matter. He rightly describes these works as "landscapes of the mind". That is to say, they are contemplations on the phenomena of nature meaning 'nature' in the widest sense of the word. As regards the 'content' of these paintings, we must take our cue from Gaitonde, who said, "Never explain painting. A painting is a state of mind, and you cannot 'explain' a state of mind. You have to experience it." (New Delhi July 2014) Mamta Saran's forthcoming book on Gaitonde (2015) will feature both works being offered in the sale.
Auction: Christie's -Sep 17, 2013 - New YorkLot number: 126
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Lot Description VASUDEO S. GAITONDE (1924-2001) Untitled signed and dated in Hindi; further signed and dated 'GAITONDE 1960' (on the reverse) oil on canvas 30½ x 38 1/8 in. (77.5 x 96.8 cm.) Painted in 1960 Provenance Formerly in the collection of Mr. T. Borden, an American merchant marine from New York who was first introduced to Gaitonde through Kumar Gallery, Calcutta and acquired a small group of the artist's works from late 1950s - early 1960s Gifted by the above to a private American collection, circa 1970 Later gifted to the Richard F. Brush Art Gallery of St. Lawrence University, Canton, New York by the above Pre-Lot Text PROPERTY OF ST. LAWRENCE UNIVERSITY, CANTON, NEW YORK View Lot Notes > It is often mentioned that Vasudeo S. Gaitonde's fascinations with abstraction and color were germinated by his exposure to Western Modernists such as Paul Klee. However Gaitonde's enduring legacy of abstraction began as early as 1943 when he enrolled at the Sir J. J. School of Art. It was there that Gaitonde mastered the sophisticated relationship between line, light and color which began with the tradition of Indian miniature painting. "Early on, I did both figurative and non-figurative paintings; I was initially influenced by Indian miniatures [...]. I started eliminating the figures and just saw the proportions of colours. I experimented with this because sometimes figures can bind you, restrict your movements. I just took patterns instead. I think that step really marked the beginning of my interest and pre-occupation in this area of painting." (V. S. Gaitonde in an interview with M. Lahiri, Patriot, 27 September 1985) This commitment continued to evolve and so by the time of the Young Asian Artists exhibition and competition in Tokyo, 1957, Gaitonde had completely broken away from representational art and began focusing on the interplay of color, light and space. Anticipating Gaitonde's minimalist abstract landscapes from later in his career, the bold expanses of color in this painting are unified similar to the reflection of light in nature. "They also perform a stylistic function by organizing the formal tensions in the available space and by quietly dramatizing the interplay of light, texture and space." (D. Nadkarni, Gaitonde, Lalit Kala Akademi, New Delhi, 1983, unpaginated) The gestural hieroglyphs, anchor a horizon against expansive orange pools of color and evoke a sense of space and depth. During the late 1950s, Gaitonde had a studio at the Bhulabhai Desai Road among other painters, thespians, musicians and dancers. He thrived in this interdisciplinary environment and was very fond of Indian classical music and dance. In this exemplar of modernity, the colorful abstracted forms build and move in harmony conveying moods and thoughts similar to the beats in music and the steps of a dance sequence. They seem to surface and settle on the picture plane as if a musical score before and submerging out of our consciousness.
Auction: Christie's -Jun 11, 2013 - LondonLot number: 1
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VASUDEO S. GAITONDE (1924-2001) Untitled signed in Hindi (lower right) each lithograph on paper 17 1/8 x 13 in. (43.7 x 33 cm.); 18 x 13 in. (45.7 x 33 cm.) Two lithographs 2 (2) Aquired from Atelier 2221, New Delhi The Printed Picture - Four Centuries of Indian Print Making, exhibition catalogue, New Delhi, 2012, pp. 181-182 New Delhi, Delhi Art Gallery, The Printed Picture - Four Centuries of Indian Print Making, October 2012
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Lot 165 Vasudeo S. Gaitonde Indian, 1924-2001 Untitled , 1958 Signed in Sanskrit on the reverse; signed V.S. Gaitonde , dated 1958 on the stretcher Oil on canvas 54 x 36 inches (137.2 x 91.4 cm) Provenance Sotheby's PB Eighty-Four, Good Decorative Works of Art, Furniture Rugs and Paintings (Sale 754) , Apr. 23-24, 1980, lot 1278 C Estimate $80,000-120,000 Stains from water damage down center of the canvas on the reverse. A 1/2 inch puncture at center. Minor cracquelure scattered throughout with a concentration of cracks at upper right. Paint loss in five areas at center to right of top edge. All approximately 1/2 x 1 1/2 inches, one area of paint loss at bottom center edge, approximately 1/2 inch diameter. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.