Kattingeri Krishna Hebbar

Acquired from a private collector, Mumbai, 2013

K. Singh ed., Manifestations X, Delhi Art Gallery, New Delhi, 2012,  p. 130 illus.

There is craquelure present across the surface of the work particularly in the areas of thicker paint which is consistent with the age and medium. There are minor spots of paint loss that could benefit from consolidation but does not detract from the overall image. This painting has been re-lined. As viewed. Black light: There are spots of retouching and consolidation visible under black light, particularly along the four edges of the work and in the two central figures holding the drum.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Katingeri Krishna Hebbar throughout his career remained engaged with classical Indian art forms, in particular the murals of Ajanta and the miniature tradition of the Mughal and Rajput courts. In his work Hebbar sought to create his own style that blended the ancient and the modern. In 1949, Hebbar travelled to Europe, where he studied at the Academie Julian in Paris.  On his return to India, Hebbar painted a series of works on dancers and musicians, possibly inspired by his own lessons in Kathak.  'He attempted to infuse the paintings with the soothing quality of Indian music, and rhythms of folk and classical dance... he sought to express sound as colour: the musician and his instrument disintegrate; vibrant colours dominate the canvas, echoing sound waves.' (Amrita Jhaveri, A Guide to 101 Modern and Contemporary Indian Artists, Mumbai, 2005, p 22). In 1964, Mulk Raj Anand published The Singing Line which illustrated Hebbar’s drawings of dancers and musicians. ‘Not bound by his training in classical anatomy of perspective, and eliminating details, the artist tried to express here the rhythm of line, aiming, as he succinctly put it, “to achieve the maximum with the minimum lines.” (ibid.)