Welcome back to the Friday Find. We hope you had a good end of the summer. Lots to come over the next few months...
In early October we are opening Adeela Suleman’s solo exhibition at the gallery on the 13th, and are showing the work of Sadequain at Frieze Masters from the 14th-18th.
In November, we are all in India for Art Mumbai where we will be showing new work by Olivia Fraser alongside mid-century Indian modernism and a newly discovered a pair of 19th-century views of Mumbai.
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A portrait of the Artist reproduced from the exhibition catalogue of his 1980 show at Jehangir Art Gallery, Mumbai.
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There is an account of a visit to Jamini Roy's studio in 1944 by E. Mary-Milford published in Horizon, the journal of literature and art where she describes walking through the various rooms of his home:
‘“That is the house, with its two Green Street doors, its bar windows, its narrow, whitewashed roofs, squeezed along crowded neighbourhoods in winding a Nanda Chatterjee Lane in North Calcutta. There at any time, on any day I could find Jamini Roy working. He seldom went out, he seldom went away. His days passed smoothly between one exhibition and the next in unhurried work, letting his brush move in those faultless curves that firmly built up the grey figures of his sleeping women, is leaping dear, his bright Madonna and his temple dances.
'Here was perfect technique of brushstroke, beginning with a broad firm pressure of the brush and ending the curve with a light fine gradation. These simple figures were composed almost entirely of curves, the only straight line perhaps the line of the nose, or a sharp angle in the drapery of the Sari. Jamini carries out these themes in ash-grey line on a background graded from grey to white, giving the effect of figures emerging from a shadowy room or animals leaping across a wide plane.”
E Mary-Milford, A Modern Primitive, Horizon Review of Literature and Art, London, Vol. X, No. 59, 1944
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