Jamil Naqsh (Pakistani, 1939-2019) Untitled (Back)

Jamil Naqsh (Pakistani, 1939-2019)
Untitled (Back)
signed 'Jamil Naqsh' lower left
oil on canvas, framed
77.3 x 61.7cm (30 7/16 x 24 5/16in).
Provenance
Property from a private collection, Pakistan.
Acquired from the artists show at Tanzara Gallery in April
2018.

Exhibited
Tanzara Gallery, Jamil Naqsh, An Homage to the Ethereal Beauty, 19th-30th April 2018, Pakistan.

Published
Aasim Akhtar, Jamil Naqsh: An Homage to the Ethereal Beauty, 2018, p.31

Throughout Naqsh's career, he remained preoccupied with the female form, depicted in his distinct style and mostly inspired by his companion and muse of over many years, Najmi Sura. Often the figure is front facing and accompanied by a dove, but in the present lot we are confronted with the back of a woman, with her head barely noticeable. Naqsh explored themes of femininity, beauty, and sensuality through his depictions of womens' back's. This is not typically seen as a conventionally attractive part of the body and may represent a more subtle or hidden form of beauty. Alternatively, it could also be seen to be a critique of the traditional representations of women in art, which often depict them as passive objects of male desire. By painting women in this manner, Naqsh may be challenging the viewer's expectations and encouraging a more contemplative, introspective mode of looking.

To paint the back, Naqsh would start by sketching the general form of the figure, paying close attention to the contours and proportions of the body. He would then carefully add details, such as the curve of the spine, the shape of the shoulder blades, and the texture of the skin. He would often use soft, feathery brushstrokes to create a sense of depth and movement in the painting.

In the present lot, he has used a muted palette that permeates the entire painting. There is no apparent differentiation between the back of the woman and the background and yet he achieves the contrast through both the subtle use of light and the division of the canvas. The upper third of the canvas is delineated by the horizontal line that cuts across the painting, almost resembling the line of refraction. The left shoulder appears to be submerged in light, which is geometrically opposed to the foot, which also reflects the light. The sharp lines used to delineate the body combined with the surface texture add further depth to this apparent two-dimensional work. Moreover, the use of negative space and minimalist composition in this work draws attention to the form and curves of the back, creating a sense of visual elegance and sensuality.