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Tyeb Mehta

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

Bonhams /Oct 5, 2015
379,506.56 - 632,510.94
Not Sold

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Artworks in Arcadja
110

Some works of Tyeb Mehta

Extracted between 110 works in the catalog of Arcadja
Tyeb Mehta - Untitled

Tyeb Mehta - Untitled

Original 1962
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Lot number: 533
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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
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Lot number: 53
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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
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Gross Price
Lot number: 55
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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
Tyeb Mehta - Untitled

Tyeb Mehta - Untitled

Original 1959
Estimate:

Price:

Lot number: 20
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Tyeb Mehta (India, 1929-2009) Untitled (Figure) Oil on hardboard 89 x 59cm (35 1/16 x 23 1/4in). Signed and dated 59 on reverse Footnotes Provenance: Private U.K. collection Acquired from Gallery Chemould, Jehangir Art Gallery, Mumbai in the 1960s or early 70s. This present lot is a poignant and important early work by arguably the most successful Indian artist in the world, Tyeb Mehta. Born in 1925, Mehta was raised in the Crawford Market neighbourhood of Bombay. He was living in a minority community of Dawoodi Bohras in an already marginalised Muslim sector of Bombay society. In 1944, Mehta was working as film editor in a cinema laboratory at Famous Studios in Mumbai. He had hoped to embark on formal education in film to grant him access to the blossoming Bombay cinema scene. In the 1930s film studios had sprung up around the city and the Indian cinema industry, decades later labelled 'Bollywood', was producing over 200 films every year. Unfortunately for the young Tyeb Mehta, religious and political upheaval in pre partition India made it unsafe for him to travel to film school instead he enrolled at the J. J. School of Art in 1947. Aged 22, Mehta witnessed the anarchic ochlocracy of an India in turmoil. From his balcony on Mohammad Ali Road in Bombay he saw a man set on and killed by a mob. This violent incident had a profound impact on Mehta. He was able to see man in his rawest most primal form, vicious and unforgiving. However this incident also made him acknowledge mortality and insignificance of man. In the face of such chaos and destruction Tyeb Mehta saw the importance of simply existing. Receiving his diploma from the J.J. School of Art in 1952, Tyeb had interacted and exchanged ideas with Sayed Haider Raza, Maqbool Fida Husain and Krishen Khanna, the founding members of the Progressive Artists' Group. Mehta recalls, "... we learned and tried to understand painting through each other. Gradually, I realized that painting offered a world of expression, all of its own. I forgot about films and became obsessed with learning what painting was all about." (Tyeb Mehta, Celebration: Tyeb Mehta, Vadehra Art Gallery, New Delhi, 1996). In the 1950s and 60s, Mehta, like his contemporaries internationally, was influenced by the writings of Malraux, Gide, Camus and Sartre. As Ranjit Hoskote notes "These gurus of the age informed Tyeb and his contemporaries in their understanding of human vulnerability, the scope of choice available within the limitations imposed by social convention, the degree of freedom that the individual could wrest from the realm of necessity." (R. Hoskote, Tyeb Mehta: Ideas, Images, Exchanges, New Delhi, 2005, p. 6) Early examples of his work, such as this present lot from 1959 show his then customary use of heavy impasto, an acknowledgement of the Parisian schools of painting. Although now a painter, Mehta retains a cinematic quality to his works. In this example, the figure is shown emerging from the encompassing background with his shoulder, arm and upper chest highlighted in the foreground. The scene is reminiscent of film noir use of darkness and shadow. Tyeb Mehta's first solo exhibition was held in Mumbai at Jehangir Art Gallery in 1959 organised by Bal Chhabda's 'Gallery '59'. After this Tyeb Mehta travelled to London where he stayed for five years. During his time in the U.K. a well-received solo exhibition was held at Bear Lane Gallery, Oxford in 1962. The painting 'Pink Figure' [Figure 1] auctioned by Bonhams in 2006 was displayed at this exhibition and shows Mehta's preoccupation with the figure. The Pink Figure is faceless, yet not inanimate. Similarly the present lot, even with the figure's impassive face and withdrawn and pensive stance, gives the impression of presence and tangibility. ...the figure, however attenuated or streamlined, marks the presence of the human being: it is an incarnation, literally a making-flesh, of the hopes, fears, desires and transformative potentialities of the self. (R. Hoskote, Tyeb Mehta: Ideas, Images, Exchanges, New Delhi, 2005, p. 6) The figure continued to be a significant and recurring subject throughout Tyeb Mehta's oeuvre. In subsequent periods, Mehta shifts stylistically, favouring large flat plains of colour and cubist distortion. One such example from 1978, part of Mehta's post 1969 diagonal series, was auctioned by Bonhams in 2013 [Figure 2]. Despite the change in technique, the figure is maintained as a key motif. Never before offered at auction this personal and evocative masterpiece is a rare insight into one of the region's most eminent artists.
Tyeb Mehta - Untitled

Tyeb Mehta - Untitled

Original 1982
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Gross Price
Lot number: 23
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Description:
Tyeb Mehta: In Search of Lightness Tyeb Mehta places his Standing Figure on a ground of ochre against subtle pastel shades, all contained within cleanly defined planes. He creates a composition that is neat and deceptively simple. The colours are secured within their boundaries and the lines define the contours and the semblance of a female form. The figure commands the viewer's full attention: "In Tyeb's painting, the... Tyeb Mehta Untitled (Standing Figure) 1982 Oil on canvas 69 x 47 in | 175.3 x 119.4 cm Signed and dated 'Tyeb '82', inscribed 'Herwitz Collection' and bearing 'The Grey Art Gallery and Study Center' label (on the reverse) EXHIBITED Contemporary Indian Art from the Chester and Davida Herwitz Family Collection , exhibition catalogue, The Grey Art Gallery and Study Center, New York University, New York, December 1985-January 1986; Center Art Gallery, Bucknell University, Lewisburg, Pennsylvania, February-March 1986; Robert Hull Fleming Museum, University of Vermont, Vermont, Burlington, April-May 1986 PUBLISHED Thomas W. Sokolowski ed., Contemporary Indian Art from the Chester and Davida Herwitz Family Collection , New York: The Grey Art Gallery, 1985, p. 59 (illustrated) Ranjit Hoskote ed., Tyeb Mehta: Ideas Images Exchanges , New Delhi: Vadehra Art Gallery, 2005, p. 126 (illustrated) PROVENANCE Contemporary Indian Paintings from the Chester and Davida Herwitz Collection, Sotheby's, New York, 5 December 2000, lot 97 An Important Private Collection
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