Workshop on Raja Ravi Varma and Phalke, Mumbai

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1870

Dada: It is the year of my birth. And far away from Trymbakeshwar, an artist is being born, the artist who I feel is the father of my imagination. In Travancore Diwan Madhav Rao is watching his protegee, Raja Ravi Varma, paint. The 22 year old Ravi Varma is working on the canvas of his first commission, a portrait of a upper class nuclear family from Trivandrum. The group of five are looking back at the painter. The woman is all clothes, and a small face. The young Ravi Varma has spent the time reserved for her carefully delineating the folds of her clothes. The littlest boy is pushing himself further into his mother's lap. The other two boys stand between their parents, staring at the painter. Ravi Varma's eye shies before the eye of the patriarch- the dark skinned, bearded man, the head of the Khizakkepat Palat Family , least innocent in the group sitting before the artist, his eyes most tired, most knowing. His gaze seems to consider the painter standing before him. Ravi Varma has spent a large time trying to 'capture' that which arrests him about this man, and failing. That vitally alive being, that expanse of brown skin remain frustratingly outside the grasp of his brush. What he paints is flat brown canvas, nothing compared to the contoured body that sits before him, just beyond that canvas. Ravi Varma is confining himself to that which he knows better- the ornamentation he has learnt from his uncle. He deftly paints a single pearl in the patriarch's ears, and is reassured by the perfect gleam. He then tries to make pearls of those eyes. He carefully works on the patriarch's mother of pearl eyes and places on them, like inlay work, the beads of those dark, shining irises, crowned with the deepest gem of the pupil. Like a necklace that speaks on the neck of a woman, those eyes are suddenly his, the painters', the portrait has comes alive. More confident now, the young man paints, and soon, the middle child's irises show the fear of a little animal that is caught, the oldest one's are opened up like the eternally startled doe of Shakuntala(the painter likes that). And the woman's face, guileless as a child, her gaze blinder than everyone else's as she faces the painter. The gaze of a creature dulled by her unexpected exit from the confines of her routines, into this sunlight, facing a young good looking man, being asked to be still, sitting around her family. If Ravi Varma's own family were to be painted, a galaxy of artists would come alive- a poet mother, a painter uncle, a sibling immersed in music, the other two showing the promise at painting. Ravi Varma faces the frustration of having to make the world out of a thick piece of cloth. I bring a cloth alive too. But I always feel that his was the greater skill, dependent on one person, his brush and his mind.

Thamiraparani

Sawantwadi childhood1.gif

Shakuntala Patralekhan from 1876 [1] Marathi literature, late 19th century

Lady with Flower Chitrashala Press started by Chiplunkar (1869- ammunition factory shifted from Mumbai to Pune) also Kavyaitehas Sangraha- monthly- Marathi literature and poetry also the Aryabhushan Press next year started a bookshop for inspirational Marathi books the year after- Kesari and Marata collaborator with and influence on Tilak --- Photogravure Karel Klic, artist in 1874, he had started the periodical Nibandhamala with his father also translated a Samuel Johnson- Rasselas and an English translation of the Arabian Nights into Marathi "He that has much to do will do something wrong, and of that wrong must suffer the consequences; and, if it were possible that he should always act rightly, yet when such numbers are to judge of his conduct, the bad will censure and obstruct him by malevolence, and the good sometimes by mistake." s Johnson This period in Marathi literature- influence of english, long sentences with several subordinate clauses the book was a loose narrative about the quest for happiness "We are long before we are convinced that happiness is never to be found, and each believes it possessed by others, to keep alive the hope of obtaining it for himself." from 1878

Victoria Terminus

from 1879 Art School teachers are organising public exhibitions. In 1879, Perstonji received the Viceroy's gold medal for his Head of a Gosain. He had won the overall prize at the exhibition, which went some way in loosening the category of a mere 'native artist'. 25 women artists also participated in 1879, most of them Bengali and married.

Sita Bhoomipravesam from 1880