Osian's Auction Catalogue Indian Antiquities and Modern and Contemporary Fine Arts | June 2015

A few myths and half-truths have been pedaled about Tyeb Mehta’s painting style and methodology, along with his relationship with collectors, especially during the days of hardship and emerging recognition. It was believed that Tyeb did not execute watercolours as studies for his oil on canvas works. By and large this statement is true, except for the cases pertaining to his two large and relatively complex Triptychs – ‘Santiniketan’ (1985) & ‘Celebration’ (1995) where the narrative was more interlinked to multiple figures and conceptual layers, along with the more intricate structural and compositional issues of planning a canvas on that scale with so many interwoven forms and ideas. It was inevitable that such demanded preparatory watercolour studies along with drawings, which in turn laid the foundations for the formal clarity of his oil on canvas masterpieces. At least three major collections so far, each distinct & unconnected to the other, have in the last four years revealed such paintings to the public. These are indeed important additions to understanding the scholarship pertaining to Tyeb Mehta’s art. Lot 30 is one such brilliant artwork, revealing a pictorial ‘evolution’ within the gap period, which varied from 1 to 10 years, as studies completed in 1983- 5 were used for the 1995 Celebration. Further, the myth has been created that Tyeb never gifted his works to Potential Collectors or well wishers during those difficult years. By and large this would be true, especially in comparison to someone like Husain, who would be at the other extreme of outreach with collectors. However, there are many examples today, especially during his Bengal stay, that he was open to gifting his drawings and/or watercolours to those he respected. At least four different collectors / collections have come to light which prove this point. It is interesting to see the differences between the earlier watercolour Study (1984; Lot 30) of the Central Panel (Panel 2) of the Santiniketan Triptych and the actual final oil on canvas Central Panel (1985). It is obviously difficult to sequence an artistic vision, its conceptual tangents and over-ridding philosophies which constantly change by minor degrees the nature of creativity, along with their evolving compositions and forms. However, obvious influences are evident in the comparison to reveal how his art progresses. For example, it is clear that the absence of the goat motif in the 1984 (could even have started in late 1983) Study implies that the Santiniketan residency/ experience brought this motif into prominence and in the process led to a restructuring and privileging of certain artistic forms and hierarchies in the final oil triptych. Similarly the whole Kali cult / worship atmosphere led to a transformation of the central panel, because naturally the whole triptych was transformed, and therein changes were brought in, from the severed head and execution pole, to even the transformation of the central androgynous figure, which of course, would have transformed, for many other reasons beside the Santiniketan energies and inspirations. Naturally the whole conceptual growth of such a historically significant painting cannot be independent from all the visual juxtapositioning of painterly forms which trial and thought facilitates, especially in the case of Tyeb.The formal elements are paramount; the formal balances overwhelm all else. A STUDY FOR THE CENTRAL PANEL OF THE FAMOUS ‘SANTINIKETAN TRIPTYCH’ (1985), FORMERLY FROM THE COLLECTION OF THE AMITABHA NIYOGI FAMILY - FORMER ADVISOR TO WEST BENGAL GOVERNOR & CHIEF SECRETARY, GOVT. OF WEST BENGAL Santiniketan Triptych. Oil on canvas, 1985 with a preparatory study (Lot 30) for the Central Panel of the 1985 triptych. 78