Avinash Chandra (1931 - 1991)

Sotheby’s London, 8 May 2007, lot 59

Minor wear to edges and corners of paper. Scattered scratches and scuffs appear to be inherent to the work. Small brown accretion at top edge, left side of center. Small scratches to paper at unpainted portion at bottom left. The colors are brighter and lighter in the painting than in the catalog illustration.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Avinash Chandra was born in Simla, India, in 1931. He graduated from the Delhi Polytechnic Art School in 1951. As a young painter, he found acclaim by painting vibrant landscapes that displayed an affection for the environment of his home town, Simla. He was at the time, one of the youngest artists to be granted a solo exhibition by the progressive artist’s movement, the 'Delhi Silpi Chakra'. Like his contemporary FN Souza, his interests took his career on a path through London and then New York. In 1956, a few years after spending time in what he considered a claustrophobic Delhi art scene, he moved to London in search of artistic liberation. Though having a natural affinity to drawing, the 50s saw him develop his skill in oil paintings, observing the work of the French impressionist painters. He also began studying philosophy, particularly looking at Indian spiritual beliefs.

The artist states, ‘I have always preferred to draw first rather than paint direct; ideas materialize more spontaneously. I start a drawing without any preconception, having a natural compulsion to think on paper – the very approach is exciting. I don’t paint in the way I draw nor do I work in glass the way I paint. Each medium is used for the way it wants to work – and yet to suit my intention and purpose exactly. I don’t even care how different and dissimilar the results are as long as I can communicate to others. This is all important.’ (Studio International, October 1968, reprinted in Rose Fried Gallery exhibition catalog, 1968).  Art critic Ronald Alley commented, 'In Chandra’s work, sexual images play a vital role, but it is important to realize that they are almost always introduced as part of a much larger experience in a wider context…their appeal lies in their constant blending with other poetic images: spires, trees, flowers, hills, moons and stars.'

This vibrant painting, composed of rounded and abstract shapes on a horizontal picture plane, rejoices the springtime. The enigmatic forms conjure a view of flowers and foliage that retain an anthropomorphic and sensual quality. Due to Chandra’s capricious yet moody color palette, the shapes appear to dance rhythmically, celebrating a season that arouses a sense of fertility and rebirth.