Thota Vaikuntam (Indian, B. 1942) Untitled
Thota Vaikuntam (Indian, B. 1942)
Untitled
signed and dated (indecipherable) in Telugu lower right
acrylic on canvas board, framed
62 x 36cm (24 7/16 x 14 3/16in).
Provenance
Property from a private collection, India.
Acquired from Srishti Art Gallery.
"I like using rich primary colours, which give a sense of character and depth to my paintings. Like reds and saffron and even orange, because these are essentially Indian colours. I don't like using colours that are mix of two, because they are not natural, they don't exist in surroundings around us, in our everyday life". Thota Vaikuntam in Uma Nair's, 'Nvya's small suite of T Vaikuntam at IAF 2023, The Times of India, 11th February 2023.
Arguably, one of India's most important contemporary artists, Thota's brilliance lays in his simultaneous ability to both elevate the mundane and create a distinct visual language. Guided by his professor, K.G. Subramanyan who impelled him to find his work amongst the everyday Indian life, Vaikuntam took on the challenge with a fervour and determination, resulting in the creation of an aesthetic that is unmistakably his.
He found inspiration in his childhood and in the rural women of his home state of Telangaga. He fostered a lifelong fascination with them, which can be traced back to the travelling theatre groups that would frequent his state. Men would dress up as women and perform, and this left an indelible impression on him.
The women he paints, a fine example of which can be seen in the present lot, are resplendent in their Indian identity, and he pays homage to both the contemporary female and those from antiquity. She is voluptuous and sensuous, and he highlights their Dravidian features, skin tone and characteristics, which contrast with the bright primary colours of their resplendent saris. Strong and robust, she is graceful as seen in the movements mirrored in the undulations of her sari. She is wearing a large vermilion Bindi, has exquisitely painted large red lips, has her hair tied in a triangular knot, and is adorned with ornaments, including two nose rings, one round and one flattened and multiple bangles and rings. Her hands laced with red altas (dye), illustrate his love for tradition as Hindu's believe the colour represents fertility and purity.
Compositionally, she fills the frame, and there is a dearth of negative space. The flat two dimensionality of the canvas is offset by the controlled lines, fine strokes and power that emanates from the acrylic. She is looking away from the viewer but is undoubtedly the centre of attention. For Vaikuntam, the female figure is sublime.
View it on
Sale price
Estimate
Time, Location
Auction House
Thota Vaikuntam (Indian, B. 1942)
Untitled
signed and dated (indecipherable) in Telugu lower right
acrylic on canvas board, framed
62 x 36cm (24 7/16 x 14 3/16in).
Provenance
Property from a private collection, India.
Acquired from Srishti Art Gallery.
"I like using rich primary colours, which give a sense of character and depth to my paintings. Like reds and saffron and even orange, because these are essentially Indian colours. I don't like using colours that are mix of two, because they are not natural, they don't exist in surroundings around us, in our everyday life". Thota Vaikuntam in Uma Nair's, 'Nvya's small suite of T Vaikuntam at IAF 2023, The Times of India, 11th February 2023.
Arguably, one of India's most important contemporary artists, Thota's brilliance lays in his simultaneous ability to both elevate the mundane and create a distinct visual language. Guided by his professor, K.G. Subramanyan who impelled him to find his work amongst the everyday Indian life, Vaikuntam took on the challenge with a fervour and determination, resulting in the creation of an aesthetic that is unmistakably his.
He found inspiration in his childhood and in the rural women of his home state of Telangaga. He fostered a lifelong fascination with them, which can be traced back to the travelling theatre groups that would frequent his state. Men would dress up as women and perform, and this left an indelible impression on him.
The women he paints, a fine example of which can be seen in the present lot, are resplendent in their Indian identity, and he pays homage to both the contemporary female and those from antiquity. She is voluptuous and sensuous, and he highlights their Dravidian features, skin tone and characteristics, which contrast with the bright primary colours of their resplendent saris. Strong and robust, she is graceful as seen in the movements mirrored in the undulations of her sari. She is wearing a large vermilion Bindi, has exquisitely painted large red lips, has her hair tied in a triangular knot, and is adorned with ornaments, including two nose rings, one round and one flattened and multiple bangles and rings. Her hands laced with red altas (dye), illustrate his love for tradition as Hindu's believe the colour represents fertility and purity.
Compositionally, she fills the frame, and there is a dearth of negative space. The flat two dimensionality of the canvas is offset by the controlled lines, fine strokes and power that emanates from the acrylic. She is looking away from the viewer but is undoubtedly the centre of attention. For Vaikuntam, the female figure is sublime.
Sale price
Estimate
Time, Location
Auction House
