In Krishna Reddy's work, the delicate but striking color rotation, swirl and bombing of reliefs on paper reflect the mysterious process of germination and childbirth in nature, and countless others1925–2018)
Painters, teachers and sculptors.
It was in Sunnyside, when Nandalal Bose-
Introduce to his students
Teach Reddy to wait patiently until nature hugs him.
It will find mature expressions in Reddy's concave works, Reddy in the medium term
1950, British artists Stanley William Haite and Keko Morty (
In Mumbai, Hayter developed a color viscosity printing process at Atelier 17, the legendary workshop in Paris, a breakthrough in concave printing.
Reddy's print is on display in a new form in the current exhibition of experimenters in Kolkata (
January 18-3 -september 31)
Reddy was born in a village in Andhra, although his father also made sculptures for local temples.
It was not until the age of 10 or 11 that Reddy showed the gift of painting the gods.
His first teacher was the philosopher Jidou Krishnamurti, who was sent to the 16-year-old sannikitan in 1943, the year of famine in Bangladesh.
In Kolkata, he will help the famine victims cremate their bodies.
He will comment later, his first lesson in anatomy.
He found his mentor Bose and Ramkinkar zakj in sannitan.
But Reddy sailed to London in 1949 and, through Krishnamurti's good offices, joined Slade, where he accepted under the guidance of Henry Moore and Lucian Freud
In 1951, he moved to Paris, where he accepted an apprentice from the Russian artist Ossip Zadkine.
Next up is Hite's studio.
Reddy became a partner.
As director in 1965.
In the days that followed, he often talked about how all the stars of Bohemia gathered on a "little street" where he met Constantine giacometi and Alberto
He spent 20 years in Paris, but often went to the United States, where he settled permanently in 1976 and established a color printing studio.
In addition to being a famous artist, Reddy is also a teacher at a famous university.
No wonder his studio is filled with printing tools and plates, attracting students from all over the world.
He may have worked abroad for most of his life, but Reddy has never given up the legacy of santketketan.
One of the many pleasures of observing Reddy's fingerprints is that they are attractive to both our vision and our touch.
The attraction of this exhibition is deep-
Original copper plate and zinc plate with direct impression of Reddy's creativity.
He used these for prints, and the corresponding prints were also on display.
Sculpture is Reddy's favorite medium of expression, and when he prepares these metal plates for prints, he follows a method similar to relief, chiseling and cutting metal surfaces, until the fine network of canyons and trenches left to form images
The first step in making a print with a multi-colored red logo.
The same plate is covered with multiple color inks of different thickness or viscosity and pressed on paper to produce an image of a series of stunning shades.
The picture itself appears in the form of a low relief on the surface of the paper, which is no different from the welding that is raised on the crocodile skin.
Reddy said in an interview with an online magazine on 2016: ". . .
Since I was in my 50 s, I have created a series of prints that were made when I used caves and spatula and they became like sculptures. . .
I mainly use manual tools, but then I also started using machine tools. .
He insisted, "the geometry is the jar I built with clay.
"The early prints he showed here show how he built the sense of order in the chaos of creation through a strong sense of structure and harmony, whether it is in full bloom, the spider web seedlings are pushed to the Sun, the ear screen --
Funny big clown, Sunflower Woman, or violent and sad, the image is between metaphor and abstraction.
This is his "insight into the mysterious source of reality and the inner workings", reverting a form to its essence.
Reddy declared: "I have been drawing.
It is the lifeline of the artist.
"In his series of paintings from graffiti and curves to complete characters, the basic principles of his sculpture and the influence of Ramkinkar dymanism became apparent.
In 1942 he produced posters in support of Gandhi, and in Paris he also made posters for the rebel algarles, for which he was arrested several times.
During the 1968 student uprising, Reddy demonstrated in a print series showing protesters with arms raised and sculptures of the same name.
Haite once commented on Reddy's ". . .
The earliest sculptures clearly convey the feeling of torque and twist ".
This is expressed through his paintings and new forms of twists and turns, Reddy was cast in plaster in Paris in 1968, he was cast in bronze at the Modern Art Foundry in New York, in 2017.
Rabindranath's words about nandalalbose may not be a coincidence. “. . .
Art is a living thing for him.
He knows this through his vision and empathy. . . ” —
Applicable to students as well as masters.
The author focuses on the heritage and culture that is disappearing in Kolkata.