Outliers, Rebels, Disruptors: Delhi Silpi Chakra - 70 years on

For many years Sanyal headed or worked at the earliest institutions for art in the northern-subcontinent. From the Mayo School of Arts (Lahore), to setting up the Lahore College of Art; Sanyal then moved to Delhi post-partition, became a part of AIFACS and the Lalit Kala Akademi, headed the Delhi Polytechnic, founded the Delhi Silpi Chakra, and eventually helped set up the Andretta artists' village. Through the years Sanyal explored different techniques and styles in his works; but what remained consistent was a sense of simplicity, emotiveness, use of vibrant, primary colours and an 'all-over' wash technique, a legacy perhaps of his time in Bengal. However, Sanyal consciously moved away from the spiritualism of the Bengal School and developed a language of his own.

Her formative years as an artist were spent at Santiniketan. Appasamy had a keen interest in art history and criticism and travelled to China and the United States to further these pursuits. On her return she joined the Delhi Polytechnic as a lecturer. She continued to work as an art critic and collected traditional Indian art and crafts through the years. A figurative painter, Jaya Appasamy used an earthy palette and flat brushwork, interspersed with geometric backgrounds emphasising the flat picture plane. A flatness in the figures’ expressions adds to the air of sobriety in her works.

A partition-era artist, most of Chawla’s compositions are idyllic village scenes: women at the centre, with flat and minimal backgrounds. Another pupil of Sanyal, whose influence can be seen in her work through the use of simple figures, everyday life, and flat application of paint.  Chawla spent time in London pursuing a diploma in mural painting, followed by time in Paris. She also executed a number of murals on public buildings.  Her work may be found in collections all over the world - The West Berlin Museum of Modern Art, the Ministry of Cultural Affairs in Paris and the Government Museum and Art Gallery, Chandigarh, to name a few.

Katyal’s relationship with art began at an early age with his artist father, and his exposure to the Lahore art circle. Katyal studied Fine Art at the Delhi Polytechnic in the evenings and taught in a school as an art teacher during the day. He worked as  the Art Director of Span magazine published by the American Centre, eventually leaving to work as an artist fulltime. From 1963 to 1967 he served as the Secretary of The Delhi Silpi Chakra. He was also one of the founder-members of the group, 'The Unknown', who aimed to create an open and free dialogue on art.  He is regarded as one of India’s foremost colourists, with his works being vibrant, energetic, full of vigour and intensity. His works as abstract landscapes, speak a unique language, while bringing the expressionists to mind.

An artist known for his highly evocative partition works, full of pain and agony, Gujral was one of the earliest members of the Delhi Silpi Chakra. In 1952, Gujral received a scholarship to study at Palacio de Bellas Artes in Mexico City where he apprenticed under David Alfaro Siqueiros and Diego Riviera and interacted with the likes of Frida Kahlo; influences of these connections can be seen in his work. Gujral’s works are extremely precise, full of depth and emotion while retaining a strong structure and form. He was known to consistently push the envelope with the use of new technology, which other artists were afraid to pursue. Often criticised for this penchant, he pushed through and created a vast and varied language for his art. His abstract works are not as well known, different in their own way, they retain the sense of form, line and precision crucial to his language. 

Krishna studied art at Indore under D.D. Deolalikar, before pursuing a diploma in fine arts from the Sir J.J. School of Art in Mumbai. Her extensive travels through europe helped her formulate her style. Essentially a painter, Krishna showed a keen interest in printmaking and continued working in this special niche she created for herself within the medium. Her work takes a lot from design and folk art, stemming from her comprehensive research in these areas.

Graduating from the Delhi Polytechnic in 1959, Arpita was part of the second wave of the Delhi Silpi Chakra. A Chronicler of the everyday, especially the life of women in India and in Delhi where she has lived for most of her life. Political undertones have dominated her expansive imagery and colour palette. Her unique tones and use of blues and black, with interventions of pink and magenta are common in her work of the last decade or so, projecting her as an astute colourist with shades of the socio-political. 

Subramanyan studied at the Kala Bhavan, Santiniketan and taught at the Faculty of Fine Arts in M.S. University, Baroda and at his alma mater in Santiniketan. A proponent of reviving Indian traditions Subramanyam created a new language, which he developed through various mediums; drawing, watercolour, oil, murals and sculptures. He was often invited by the Delhi Silpi Chakra to participate in annual exhibitions. His unique use of idioms, skewed perspectives, dramatic lines and contrasting colour make him a stalwart of Indian modernism.

Designated by the Government of India as a ‘National Treasure’ along with a select group of artists. Mookherjea’s oeuvre is unlike any others.  He made huge contributions to the Delhi art scene, having taught at the Sarada Ukil School of Art and then at the Delhi Polytechnic mentoring  innumerable artists who came out of Delhi. Though never a member of The Delhi Silpi Chakra, the role he played was no less. He not only showed his work, but contributed in setting up the art training centre as well while playing a crucial role in the development and furthering of the group’s objectives. As an artist he explored different techniques, mediums and styles, bringing forth an indigenous ‘modern’ language combining the western modernist and traditional Indian art forms.

Sehgal, like many others had seen the ravages of partition which left a deep impact on him and can be seen in his works. Sehgal’s legacy will remain with his large colourful murals on public buildings across India. His works largely centred around the politics of power, aspects of freedom and human dignity. The use of firm lines and vibrant colours with strong structures and forms make his works compelling. His energy finds resonance with his viewers,  engulfing them in the work.

Swaminathan is known for having set up the Bharat Bhavan in Bhopal. This came out of his desire to derive a more ‘Indian’ fine arts language, rather than merely emulating the west in the name of progression. He studied at the Delhi Polytechnic for a short while but unable to manage the evening classes with his day job, he left the course and eventually joined the Academy of Fine Arts in Warsaw on scholarship. He was one of the founder members of Group 1890.  Though not an out and out member of the Silpi Chakra, he came up with the curricula for art education at the Chakra and was a constant advisor and associate of the groupwide-open compositions, bright colours, conceptual landscapes and mountains, trees and birds make his work some of the most easily recognisable art in the Indian scene . His work, both on the canvas and otherwise brought forth critical and much needed discussions in the development of modern Indian art.

One of India’s foremost artists, Ram Kumar, first made his name as a writer, much like his younger brother Nirmal Verma.  He studied art under Sailoz Mokherjeea at the Sarada Ukil School of Art. One of the first members of the Silpi Chakra, Kumar was also active with the Progressive Artists Group. These groups were unlike each other in every way while being pillars of the history of modern art in India. His time in Paris greatly influenced his work; more specifically André Lhote and Fernand Léger under whom he studied. Gradually moving away from figurative works, Kumar worked with abstraction, retaining a sense of melancholy juxtaposed with energy and fervour.

A champion of the male body and monochrome, Broota anchored his language in these; a method he developed right after graduating from the Delhi Polytechnic, through a number of teaching positions from the Sarada Ukil School of Art, to Jamia Milia  Islamia and at his alma mater. His paintings with scratched surfaces reflect the undulating male skin accentuated the eroticism of the male body which was central to most of his work. His large canvases have been a constant in shows during the modern era in Indian art and right through the contemporary interventions of the last two decades. He was office bearer of the Silpi Chakra in the late 60s and early 70s.

Curation 

Pramod Kumar KG / Abhay Bhalla 

Eka Archiving Services 

Poonji Nath / Keshav Mahendru 

FAQ Art 

Lenders

Amar Nath Sehgal Private Collection

Swaraj Art Archive 

The Collection at Number 8 

Shaan and Harpreet Singh 

Keshav Mahendru