Art Historian Unedited

Decoding Indian art, one painting at a time. Finding unique connects, joining the dots that are not always seen.

[stillwater67]

rainforest stairs

[talonabraxas]

Jesperish Ancient Art, about the stars

[arthistorianintraining]

this is so beautiful

[arthistorianintraining]

The case for affordable art: A brief classification

The term ‘affordable art’ covers quite a large umbrella of lifestyles, budgets, and even tastes. It has become a way to describe art that is accessible to a larger audience with a subjective budget. While this may be a vague description of the genre - the artworks themselves do not fit a select category in which they can be thoroughly refined.

Say I would like a work of art that speaks to me, but it needs to come within a budget? How would one define the budget and what would that mean as a future investment? How does one classify art as investment when they are new to it? 

All these questions are incredibly important but only if we see it as a future definition of an art collection. The difference remains in the need of the hour - is the art purchased for decor, or part of a larger purchase of works over a period of time? Affordable art then becomes an answer to the growing need for beauty in one's surroundings. The best way in which anyone can answer their own questions with regards to buying art is to prioritize their desires while holding fast to their budget. 

The aspect of intimidation needs to be replaced with curiosity as the masses gain a foothold on what currently moves in the art market and what they might be drawn to as well. While the assets may not always fit the budget, the point is to get an idea of how art functions on such a massive scale, especially with regards to shows and galleries. 

An understanding of the art ecosystem automatically places a new buyer in the midst of a world that might have been vague once, but now has more clarity in terms of their own subjective interests. What must be stressed is the need to ask questions and find out more - so that the buyer is aware of the work they would like in their homes. 

The beauty remains in the offering of the work which is both emerging and contemporary - ranging in budget, medium and style. The impression then is that the buyer is given a select choice from month to month, including a fresh selection each time - while picking from a diverse range of artists and creatives. The choice still remains with the buyer but also gives them enough room to experiment, therefore enjoying the process of buying art.

[arthistorianintraining]

Folding Heart - 2022

A tribute to how much my heart has seen and felt - and how it still seems impossible to encapsulate on the same canvas

[arthistorianintraining]

Poetic erosion - 2022 - Moksha Kumar

A piece I did earlier this year.

[theleoisallinthemind]

Ancient Egyptian red jasper inlay

[arthistorianintraining]

gorgeous

[mentaltimetraveller]

Oliver Laric, Reclining Pan, 2021. Photo: Gunter Lepkowski. 

Tanya Leighton, Berlin

[weandthecolor]

Selected Prints of 2022 from the PosterLad Project by Vratislav Pecka

More here.

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[amillustrator-sketchblog]

If they ain’t with us, they’re against us. Until the ethics are part and parcel with the programs, I’m rightfully not fucking with it. - - - #noart #respect #ethics https://www.instagram.com/p/CmJtSoxO8th/?igshid=NGJjMDIxMWI=

[blastedheath]

Syed Haider Raza (Indian, b. 1922), Surya, 1997. Acrylic on canvas, 100 x 100 cm.

[arthistorianintraining]

yes yes and more yessssss <3  Raza was and is a behemoth of Indian Art! He was so invested in the progress of the Indian art market that he would personally advise students in art colleges and guide them. Brilliant genius! 

[kartappreciation]

Laura Russo

[arthistorianintraining]

Dawn by Anant Mishra is paired in tandem with Sheaves of Wheat by Vincent Van Gogh and is a wonderful reference to the elevation of the surroundings each artist situated themselves in. Anant Mishra often deals with the exploration of the human psyche, the condition of society and the progression of the human race, and Van Gogh in contrast deals with the ecstatic beauty of nature and the ‘plein air’ in which he created. They both seem to collide in a rather mesmerizing way through tone and the representation of form - however differ greatly in terms of the overall concept. While the works here both describe hills, the hill in Van Gogh’s work is light and fluffy; a hay mound. Anant on the other hand coats his hills in mango yellow, solidifying their earthen presence while creating a rather intriguing golden effect. While the paintings give out an essence of golden tone, their similarities are more through the technical than through the conceptual. Here, Anant constructs a strange sense of utopia and Van Gogh grounds the viewer in the present moment, in the ‘utopia’ that he already sees. The thread between the works is exquisite, light and yet not too overt - as they both traverse the depths of the mediums chosen alongside the concepts rendered. The intriguing aspect remains the silent thread of visual understanding that runs between them - offering glimpses into a euphoria that is both hidden and plain to see. Anant may describe a city that extols a utopian order, possibly in the future, Van Gogh sees it and describes it in the now, offering us a moment of respite against the troubles of the present.  Both artists uncannily capture the element of hope in their rendition of this golden aura, offering a chance of redemption against a relentless reality. 

[tippenfunkaport]

there is something so darkly comical about tumblr potentially outliving twitter

tumblr, which is held together with duct tape and madness, run by three raccoons in blood stained Yahoo! hats and a handful of crabs, its only discernible source of income the sale of shoelaces from an inside joke so inside no one knows the original source anymore and fake blue checkmarks... that website still lives on

truly the cockroach of social media and I love it for that

[arthistorianintraining]

‘If one observes rather carefully - the similarities between the two are subtle, but astounding. Raza’s work in fact looks like a mirror image to Ravi Varma’s rendition. The power of the earth is exemplified beautifully in both scenes - as the image seems to show both a literal and an abstract vision of the same. As Sita is taken back into the earth, she simply turns back with one sorrowful, withering glance - as though feeling the pain of leaving and staying all at once. The beauty of Raza’s work however, reflects a tumultuous set of emotions without the direct reference to the mythological story - making it more natural to the element itself. Ravi Varma and Raza however, seem to share a rather intriguing, artistic connect across time.’ 

Beginning my art history journey with this one, and is a part of a piece I wrote that I will release soon. Stay tuned.