George Keyt

(19011993 ) - Artworks Wikipedia® - George Keyt
KEYT George Woman With Vase

Christie's /Mar 18, 2014
14,440.43 - 21,660.65
14,520.00

Find artworks, auction results, sale prices and pictures of George Keyt at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Along with George Keyt, our clients also searched for the following authors:
Jamini Roy, Vasudeo. S. Gaitonde, Gulam Rasool Santosh, Hari Ambadas Gade, Shiavax Chavda, Krishnaji Howlaji Ara, Narayan Shridhar Bendre
Artworks in Arcadja
134

Some works of George Keyt

Extracted between 134 works in the catalog of Arcadja
George Keyt - Untitled (musicians)

George Keyt - Untitled (musicians)

Original
Estimate:

Price:

Gross Price
Lot number: 94
Other WORKS AT AUCTION
Description:
GEORGE KEYT (1901-1993) Untitled (Musicians) pencil, ink and gouache on paper 16 7/8 x 13¾ in. (42.9 x 35 cm.); 14¾ x 10 7/8 in. (37.5 x 27.6 cm.) (2)2 These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Sotheby's New York, 20 September 2005, lot 183
George Keyt - Seated Woman With Flowers

George Keyt - Seated Woman With Flowers

Original
Estimate:

Price:

Gross Price
Lot number: 360
Other WORKS AT AUCTION
Description:
George Keyt (Sri Lanka, 1901-1993) Seated Woman with Flowers , oil on canvas, signed and dated G.Keyt 46 lower right, framed, 126 x 87cm (49 5/8 x 34 1/4in). Footnotes Provenance : Private USA Collection; acquired from The Indian Sale , Sotheby's, 8th May 1997, lot 287. Previously purchased directly from the artist.
George Keyt - Untitled (the Flute Player)

George Keyt - Untitled (the Flute Player)

Original 1982
Estimate:

Price:

Lot number: 48
Other WORKS AT AUCTION
Description:
GEORGE KEYT (1901-1993, Sri Lankan) Untitled (The Flute Player) 1982 oil on canvas 77.0 x 77.5 cm signed and dated lower right: G Keyt/ 82 Provenance: Collection of Mr Dhammika Gunasekara, Sri Lanka Private collection, Sydney, c2004 Keyt I think is the living nucleus of a great painter. In all his works, there is the moderation of maturity. … [His] figures take on a strange expressive grandeur, and radiate an aura of intensely profound feeling.1 Sri Lankan born painter George Keyt (1901-93) is an artist of international significance. A master of reinvention and a prodigious creator, he remained active in his practice until his death at the age of 92. Armed with a modernist ethos, Keyt’’s aesthetic evolved in line with the major stylistic shifts that comprise 20th century art. His unique vision is a synthesis of East and West, seamlessly merging European innovations with South Asian subjects and techniques, particularly Sri Lankan temple painting and Indian sculpture. Despite his clear admiration for cubist and fauvist principles, and the work of Pablo Picasso (1881-1973) and Georges Braque (1882-1963), Keyt’’s subject matter was almost always rooted in local tradition, drawn from Hindu and Buddhist mythology and village life. Though undoubtedly liberated by modernist ideology, Keyt’’s enigmatic vision defies categorisation and remains singularly his. Keyt’’s exposure to the language of abstraction lauded by cubism announced itself in his work during the early thirties. This resulted in the emergence of a style that saw the physical realities of place, space and form dissolve and reform themselves on a single painterly plane, held together by a template of crisp lines. (The Flute Player) 1982 is a mature work, technically flawless and imbued with a sense of assurance and spontaneity that only comes with artistic maturity. Like many of his paintings, Keyt here represents two figures, a man and a woman. Both are conceived with exaggerated exotic features and adorned in traditional garments. The composition itself is highly sophisticated, the two figures mirroring each other through their commonalities: round heads; almond-shaped eyes; angular brows and full lips. Keyt uses colour to enact contrast between the two. The dark brown pigment used to delineate the man is effortlessly complimented by the creamy flesh tones of the woman. Keyt achieves compositional harmony through the inclusion of bold white lines that form a web over the flat bands of colour, creating a flattened sense of perspective and unveiling the abstracted figures beneath. 1. Pablo Neruda cited in Archer,W.G., India and Modern Art, Macmillan, London, 1959, p. 124 Alison Burns BA (Hons); MA
George Keyt - Woman With Vase

George Keyt - Woman With Vase

Original 1982
Estimate:

Price:

Gross Price
Lot number: 213
Other WORKS AT AUCTION
Description:
Lot Description GEORGE KEYT (1901-1993) Woman with Vase; Virahini signed and dated 'G Keyt 82' (upper left) each oil on canvas 16 1/8 x 13¼ in. (41 x 33.7 cm.); 16 3/8 x 12½ in. (41.6 x 31.8 cm.) Painted in 1982; Two works on canvas 2 (2) Provenance Acquired directly from the artist Pre-Lot Text PROPERTY FROM THE COLLECTION OF RENE MARGIES AND MATTHIAS SERVAIS (213-217)
George Keyt - Bhima And Jarasandha

George Keyt - Bhima And Jarasandha

Original 1943
Estimate:

Price:

Gross Price
Lot number: 141
Other WORKS AT AUCTION
Description:
Lot Description GEORGE KEYT (1901-1993) Bhima and Jarasandha signed and dated 'G Keyt 43' (upper right) oil on canvas 31 5/8 x 31½ in. (80.3 x 80 cm.) Painted in 1943 Provenance Formerly from the collection of Martin Russell, London Saleroom Notice Please note this painting was exhibited in a solo show Bombay, 1947 and was featured on the cover of the exhibition catalogue. Pre-Lot Text "Its [The '43 Group's] work, especially at the peak of its development in 1940s and 1950s, represented one of the most outstanding achievements of modern Asian art in its time." (S. Bandaranayake and M. Fonseka ed., Ivan Peries Paintings 1938-88, Melbourne, 1996, p. 9) The legacy of the '43 Group was fundamental, not only in its impact on the visual culture of Sri Lanka but in terms of developing an international platform for a modern South Asian art. Parallels are inevitably drawn with the Bombay Progressive Artists' Group. Both were groups of a new generation of likeminded artists seeking to break with colonial orientalist idioms in favor of "A mode of indigenized modernization, of great originality and authenticity." (S. Bandaranayake and M. Fonseka ed., Ivan Peries Paintings 1938-88, Melbourne, 1996, p. 9) This group of visionary Sri Lankan artists, of which founding members included George Keyt, George Claessen and Ivan Peries, all shared this sentiment and so the '43 Group was conceived, having its first exhibition in Colombo in 1943. The influence of western painting was maintained by the Ceylon Society of Arts which advocated a traditional nineteenth century art education. "John Berger, the art critic of the New Statesman, in an introductory note in the catalogue of the first '43 Group exhibition in London in 1952, said it was 'an imported if not imposed art: an art deriving from the nineteenth century English tradition with an exotically 'oriental' overtone added'." (N. Weereratne, 43 Group: A Chronicle of Fifty Years of Art in Sri Lanka, Melbourne, 1993, p. 13) The Ceylon Society of Arts rejected the numerous applications of artists that did not conform to their standards, leaving many disenchanted artists without a platform to exhibit or forum to exchange ideas. It was from under the prohibitive shadow of the status quo of the Ceylon Society of Arts that the '43 Group of ambitious and modernizing artists emerged. Whilst exact accounts of the first meeting of the group differ, seven or eight artists met on 29 August 1943 in Colombo to form the '43 Group. They were hosted by Lionel Wendt, a photographer and critically influential anchor for the artists. The meeting included Ivan Peries, Lester James Peries, Aubrey Collette, George Claessen, Richard Gabriel, Harry Pieris. Though absent from this first meeting, the group decided to include George Keyt, Justin Daraniyagala and Manjusri Theo. Keyt's Bhima and Jarasandha (lot 141) featured in the inaugural exhibition in November 1943 as catalogue no. 59. "The most remarkable thing about the Group [...] was that it was made up of artists who were so diverse in style and temperament [...] Each member had his own individual style and outlook, and yet we held together as a cohesive whole." (A. Collette quoted in, 43 Group: A Chronicle of Fifty Years of Art in Sri Lanka, p. 19) There was no official manifesto, however they readily devoured influences from European and American modernism first introduced to them by Charles Freegrove Winzer, the Ceylon Governments' Inspector of Art. For Keyt "Winzer provided a window into a fresh and unfamiliar world of painting. He introduced them to the work of the Impressionists; to Pissarro, Manet, Renoir, Degas, Cezanne, Gauguin, Van Gogh; and Picasso and Matisse." (43 Group: A Chronicle of Fifty Years of Art in Sri Lanka, p. 16) The group according to Keyt were prejudicial with what they assimilated, "Happily for us the '43 Group is no narrow fanatical body in its reception of modern art and the welcome it has always extended to Western trends in Europe and what it could gather from such vital trends in America. In fact its main cause of origin was the rejection of the obsolete and the dead in the art of Ceylon and all that has resulted from the obsolete and dead deriving from the art of Europe." (G. Keyt quoted in, N. Weereratne, 43 Group: A Chronicle of Fifty Years of Art in Sri Lanka, Melbourne, 1993, p. 16) However it was in moving abroad to England that those masters of '43 Group really gained recognition. Following a similar trajectory to the Bombay Progressive Artists' group emigrated to Europe where they further assimilated and incorporated external influences into their art. The first exhibition was at the Imperial Institute in London in November 1952 at the invitation of the Royal India, Pakistan and Ceylon Society - George Claessen was present at the opening. A similar exhibition followed in Paris at Petit Palais in November 1953 with the museum acquiring works by Ivan Peries. In London further exhibitions and acclaim ensued at the Institute of Contemporary Art, the Beaux Arts Gallery and Artists International Association Gallery culminating in the landmark exhibition at the Heffer gallery in Cambridge where Martin Russell, the art critic and collector of Keyt, was a guest speaker. Keyt remained on the subcontinent but Claessen and Peries both spent the majority of their lives working and exhibiting in London. These key members of the group continued to exhibit in their native Sri Lanka, however they gained increased international acclaim participating in biennales in Venice and Sao Paulo. Despite the diasporic nature of the group, each artist maintained distinct vocabularies that incorporated the western modernist idiom whilst retaining their Sri Lankan heritage and vernacular. PROPERTY FROM THE COLLECTION OF RENE MARGIES AND MATTHIAS SERVAIS Literature M. Russell, George Keyt, Bombay, 1950, pl. 66 (illustrated, unpaginated) P.R.R. Rao, Modern Indian Painting, Hyderabad, 1953, p. xxi, pl. 99 (illustrated) A. Halpe (ed.), George Keyt, Colombo, 1977, p. 14 (illustrated) S. Goonasekera, George Keyt: Interpretations, Kandy, 1991, p. 73 (illustrated) Exhibited This work was included in the inaugural '43 Group exhibition in Colombo, November 1943, as no. 59 (see catalogue listing on previous page). View Lot Notes >
Arcadja LogoProducts
Subscriptions
Advertising
Sponsored Auctions
Subscriptions

Who we are
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr