Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Tyeb Mehta

India (1925 -  2009 ) Wikipedia® : Tyeb Mehta
MEHTA Tyeb Head

Saffronart India /Feb 24, 2016
237.02 - 289.69
Not Sold

Find artworks, auction results, sale prices and pictures of Tyeb Mehta at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Artworks in Arcadja
117

Some works of Tyeb Mehta

Extracted between 117 works in the catalog of Arcadja
Tyeb Mehta -  Untitled

Tyeb Mehta - Untitled

Original 1994
Estimate:

Price:

Lot number: 15
Other WORKS AT AUCTION
Description:
TYEB MEHTA (1925-2009) Untitled (Woman on Rickshaw) TYEB MEHTA (1925-2009) Untitled (Woman on Rickshaw) signed 'Tyeb 94' (on the reverse) oil on canvas 59 1/8 x 47 ¼ in. (150.1 x 120 cm.) Painted in 1994 Painted in Tyeb Mehta\\\’s instantly recognisable minimalist format, Untitled (Woman on Rickshaw) resonates with the quiet emotive poignancy that embodies his art. Here, Mehta monumentalises the rickshaw, making it a symbolic stage on which he casts an abstracted female figure. Painted in 1994, this portrait displays the modern master's virtuoso technique, which eliminating any trace of his own hand so that nothing could detract from the primacy of his carefully chosen image. These were \\\“[…] images which haunted him, burning themselves deep into his mental circuitry […] these obsessional images, autobiographical in import, gradually gained significance as Tyeb externalised them, reflecting on them, and allowed them to shimmer against the wider canvas of society.\\\” (R. Hoskote Tyeb Mehta, Images and Exchanges, New Delhi, 2005, p. 14) The ubiquitous rickshaw, normally a benign mode of travel in urban and rural India, takes centre stage in the present painting, transformed by Mehta into an allegory for human suffering, indignity, subjugation and struggle for survival. The image of the rickshaw can be found in Mehta\\\’s works dating as far back as the 1950s, but only appears in his oeuvre on a grand scale much later, following a two year period from 1983, when Mehta was invited to be artist-in-residence at Viswa Bharati University, Santiniketan. Mehta's stay at Santiniketan was timely since it allowed him to recuperate from a serious illness and its cultural ambience was inspiring. It was during this residency that he painted the iconic Figure on Rickshaw, a work that was offered by Christie\\\’s in 2011 and achieved the world auction record for the artist. Mehta\\\’s experiences in Kolkata are indelibly linked to the maturity of the rickshaw as an image in his paintings. It is important to note that the artist is not referring to the common bicycle rickshaws that bustle through so many of India\\\’s cities but rather the more traditional hand-pulled rickshaws of Kolkata and Santiniketan, some of the last places that they can still be found. For Mehta, in the present painting, "The rickshaw is not a simple means of transport but a sign of bondage." (N. Ezekiel, Tyeb Mehta, exhibition catalogue, New Delhi, 1970, unpaginated) and as such, Mehta's iconic Rickshaw series underscores the anonymity and isolation of the common labourer. Significantly in Untitled (Woman on Rickshaw) Mehta has cropped the image so as not to show the rickshaw puller, casting the viewer into this role of bondage instead. The viewer becomes activated and assumes a leading role, caught in a metaphoric dichotomy that Mehta described as, \\\“The tension between containment and freedom is the nature of the work itself.\\\” (Artist statement, N. Adajania, Tyeb Mehta, Images and Exchanges, New Delhi, 2005, p. 358) Almost androgynous in appearance, the captive figure on rickshaw is also formal mechanism within Mehta's composition. Tropes for Mehta are analogous to an artist\\\’s palette: tools with which to craft the final masterpiece. In fact, for Mehta, \\\“The problem with us is that we see the figure. But if you see the painting and forget about the figure, you will be seeing forms relating to each other\\\” (Artist statement, Y. Dalmia, Tyeb Mehta, Images and Exchanges, New Delhi, 2005, p. 354). In Untitled (Woman on Rickshaw) Mehta reveals his craft and skill as a painter of flawless planes of flat colour, a stark contrast to the gestural, textured impasto of his early works. In an interview with Nikki Ty-Tomkins Seth, the artist explains, \\\“The human figure has become part of my vocabulary, like a certain way of applying colour or breaking up images. It is a sort of vehicle for me […] The human figure is my source, what I primarily react to. But in transferring that image to canvas, I begin to think in terms of modulating the canvas distributing areas of colour and appropriating space." (Artist statement, N. Ty-Tomkins Seth, New Delhi, 2005, p. 343) In the present painting, sumptuous expanses of vivid colour are dissected by the subtle diagonals of the rickshaw handles and wheels and the flailing marble coloured limbs of its occupant, while the abstract use of flattened forms and the segregated monochromatic areas creates a sense of harmony and stillness. The sophistication of Untitled (Woman on Rickshaw) is evident not only in the potency of Mehta's quintessential icons, but in its exquisitely executed elements as well, which transcend the bounds of naturalism. Mehta invites the viewer to become part of the moment he captures, temporarily suspended in stasis before experiencing what the ancient Greeks referred to as anagnorisis: the hero\\\’s tragic realisation of reality. Mehta\\\’s paintings have the power to invoke wonder and devastation in equal measure as he reveals truths that continue to be poignant and universal in the world today.
Tyeb Mehta - Falling Figure

Tyeb Mehta - Falling Figure

Original 1965
Estimate:

Price:

Gross Price
Lot number: 46
Other WORKS AT AUCTION
Description:
Falling Figure Signed and dated 'Tyeb 65' (lower right) 1965 Oil on canvas 70.75 x 47.25 in (180 x 119.9 cm) PROVENANCE: Kumar Gallery, New Delhi Property from a Distinguished Private Collection, New Delhi EXHIBITED: Solo Show, New Delhi: Kumar Gallery, 1966 First Triennale India, New Delhi: Lalit Kala Akademi, 10 February - 31 March 1968 India: Myth & Reality, Aspects of Modern Indian Art, Oxford: Museum of Modern Art, 27 June - 8 August 1982 PUBLISHED: First Triennale India, New Delhi: Lalit Kala Akademi, 1968, (illustrated, unpaginated) David Elliott and Ebrahim Alkazi eds., India: Myth & Reality, Aspects of Modern Indian Art, Oxford: Museum of Modern Art, 1982, p. 22 (illustrated) Sovon Som and Amit Kumar Mukhopadhyay eds., Lalit Kala Contemporary, Volume 36, New Delhi: Lalit Kala Akademi, 1990 (illustrated, unpaginated) Ranjit Hoskote, Ramachandra Gandhi et al., Tyeb Mehta: Ideas Images Exchanges, New Delhi: Vadehra Art Gallery, 2005, p. 86 (illustrated) Tyeb Mehta: Triumph of Vision, New Delhi: Vadehra Art Gallery, 2011, p. 8 (illustrated) Richard Bartholomew, The Art Critic, Noida: Bart, 2012, p. 213 (illustrated) Celebration 2016, Kumar Gallery: Sixty Years 1955-2015, New Delhi: Kumar Gallery, 2016, p. 195 (illustrated) Category: Painting Style: Figurative
Tyeb Mehta - Untitled

Tyeb Mehta - Untitled

Original 1962
Estimate:

Price:

Lot number: 533
Other WORKS AT AUCTION
Description:
UNTITLED Tyeb Mehta 1925-2009 Signed and dated 'Tyeb / 62' on reverse Oil on board 39½ x 29½ in. (100.5 x 74.9 cm.) Painted in 1962 Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Catalogue Note Tyeb Mehta’’’’s exploration of the bull and its imagery in all of its forms comes full circle throughout his decades-long artistic career. The majestic and tortured animal serves as a symbol for humanity in his works. “I was on the fringes of the Progressive Artist Group….We were passing through difficult times – the pre-Partition riots in Bombay and then the massacre that followed independence. This trauma and anguish unknowingly became the content of my work…. I was looking for an image to express this anguish and, years later, I found it in the British Museum. I was fascinated by the image of the trussed bull in the Egyptian bas-relief and created my first major painting, The Trussed Bull, 1956.” (N. Adajania, ‘Tonalities: A Conversation with Tyeb Mehta,’’’’ Tyeb Mehta: Ideas, Images, Exchanges, Vadehra Art Gallery, New Delhi, 2010, p. 337) “The trussed bull, earliest of Tyeb’’’’s abiding concerns, was inspired by a visit to an abattoir. The artist saw the animals being tied up and then slaughtered, and the vision obsessed him thereafter. The idea of such a strong animal rendered helpless became for him symbolic of attacks on the spirit in general. After traveling to England and observing tendencies in the European art, he developed an expressionist, gestural style, which involved applying paint thickly for immediate emotional impact. This phase of Tyeb’’’’s art is often said to be deeply influenced by the English painter Francis Bacon. (Girish Shahane, Tyeb Mehta July 26, 1925- July 2, 2009, http://girishshahane.blogspot.co.uk/2009/07/tyeb-mehta-july-26-1925-july-2-2009.html, 2009) The present painting is a prime example of this early phase in Tyeb Mehta’’’’s work when he was residing in England from 1960-1964. Here one can see the meticulous layering of texture and pigment. With its gestural application of paint in thick impastoed brushstrokes, the fleshy earthen tones conjure a rotting carcass in relief. This carnal depiction of the bull in a verdant meadow is amongst the earliest interpretations of a theme to which he would continually return in differing media ranging from painting to sculpture to film. “In the early work, expression was all important. I did not yet have the technical means, hadn’’’’t developed an understanding of the language of painting. Expressionism appeals to the viewer directly…Munch, Kokoschka, Emil Nolde weren’’’’t painters in the tradition of painting, they were ‘gut’’’’ painters. I was painting from the gut.” (‘Tyeb Mehta in Conversation with Nikki Ty-Tomplins Seth,’’’’ Tyeb Mehta: Ideas, Images, Exchanges, Vadehra Art Gallery, New Delhi, 2010, p. 341) In 1970, Mehta made a brief return to his first career as a film-maker, writing and directing the award-winning film, Koodal (35mm, B/W film, 16min 16 sec) from a commission by the Government of India Film Division. “Mehta combined imagery of the city, people, and cattle. Sleeping civilians, workers, merchants, rugby players, dancers, and hijras are present in the film. There is no dialogue or narration, only a composed score featuring chants, drums, and a surreal sitar. The combination of instruments creates a hypnotic soundscape and rhythm. Fast paced edits give the impression of a bustling city while slower paced edits reveal moments of daily life without interruption. The intercutting between people and animals unifies them as living creatures populating the city. Perhaps the most striking image of the film comes in a long exposure long shot of a slaughtered bull falling to the ground. By witnessing the bull fall in blurred, repeated frames, Mehta invokes a sense of terror. Juxtaposed against the images of living cattle and the final dolly shot of a Nandi Bull, the slaughtered bull serves as a metaphor for Indians’’’’ fear of restriction and lack of control in their daily lives.” (G. Ezzone, Koodal by Tyeb Mehta, http://facets.org/blog/film_portal/koodal/, 2014)
Tyeb Mehta - Head

Tyeb Mehta - Head

Original 1989
Estimate:

Price:

Lot number: 53
Other WORKS AT AUCTION
Description:
Tyeb Mehta Head Signed and dated 'Tyeb 89' (lower left); bearing Vadehra Art Gallery label on the frame (on the reverse) 1989 Pencil on paper 9.75 x 6.75 in (24.7 x 17.3 cm) PROVENANCE: Vadehra Art Gallery, New Delhi EXHIBITED: Yashodhara Dalmia, Tyeb Mehta: Triumph of Vision, New Delhi: Vadehra Art Gallery, 15 January-18 February 2011
Tyeb Mehta - Untitled (head)

Tyeb Mehta - Untitled (head)

Original 1960
Estimate:

Price:

Gross Price
Lot number: 55
Other WORKS AT AUCTION
Description:
TYEB MEHTA (1925-2009) Untitled (Head) signed, dated and titled 'Tyeb 61 HEAD 1960' (on the reverse) oil on board 36 x 24 1/8 in. (91.4 x 61.4 cm.) Painted in 1960-61 Pre-Lot Text PROPERTY FROM THE COLLECTION OF A GENTLEMAN Literature Tyeb Mehta, exhibition catalogue, New Delhi, 1971-72 (illustrated, unpaginated) R. Hoskote, Tyeb Mehta: Ideas Images Exchanges, New Delhi, 2005, p. 54 (illustrated) Exhibited New Delhi, Kunika-Chemould Gallery, Tyeb Mehta, 1971
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr