Osian's Auction Catalogue Creative India Series 1 Bengal | December 2011

s arada C Haran u kil 14 November 1888 – 21 July 1940 a Long Journey Watercolour and wash on paper, 1925 (1332 in Bengali Calendar) S/d in Bengali ‘Shri Sarada Ukil 1332’ l.l. 15.8 x 10.4 in (39.8 x 26.5 cm) Condition Good previously restored (support lined on hand-made paper). Provenance From the Collection of Madhu Thacker, the elder brother to noted scholar and patron Manu Thacker, who along with G. Venkatachalam was an important voice in the art world and a supporter of the Bengal School during the 1930-40s. ` 400,000 – 600,000 US$ 8,000 – 12,000 36 1780 1800 1820 1840 1860 1880 1900 1910 1920 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 2000 Illustrative reference Charu Sen, Bhiter Maya (Attachment for Ancestral Home). Illustrated in Bharatbarsha, Vol.13 (2), Srabon, 1332 (1925), adjacent p.400. The artist mentioned on the plate is Charu Sen instead of Saradacharan Ukil. This suggests either a mistake by the publishers or this famous theme was suggested to students of the Bengal School to copy from the senior Sarada Charan Ukil’s version. Creative India BENGaL | Nandalal Bose & the Bengal school 91 90 “ Sarada Charan Ukil (1890 - 1940) was one of the first pioneers who initiated the revivalist movement in Indian art. He was true to the spirit and aim of the movement in its broad features yet he let the beaten track in many essentials and in some respects outgrew its limitations. For instance, he rashly ignored anatomical details and adhered tenaciously to the Indian idealistic concept of anatomy. Similarly, he avoided the Far eastern technique of having specially prepared surfaces, eliminated all ornamental decorations, resorted to free choice of subjects from the wide world of matter and imagination and broke with a vengeance the whole tradition of colour technique replacing it with a simple blend of his own devising which imparts subtle musical effects... In his other studies he has shown extraordinary cleverness in depicting old age, poverty and misery. Such studies do not diverge much from nature and realism.” [Kaul, Manohar [1961]. Trends in Indian Painting: Ancient, Medieval & Modern. New Delhi: Dhoomimal Ramchand; p.120]