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Uneven assembly

Art, Medley, the exhibition at Mahua, is just that


THE ONGOING exhibition, Art Medley, is the result of Mahua Art Gallery's cumulating a large collection of more than 100 paintings by about 50 established as well as relatively young and upcoming artists.


The masters are mostly seen in their limited signed prints, though many don't fail to enthral the viewer. F.N. Souza's startling if impious version of the Last Supper, A. Ramachandran's intricate lines deliberating upon a delicately handled self-portrait (Tree), Arpita Singh's Two Men on a park bench appearing alike but attired differently, Suhas Roy's fascinating close-up of a female face, Sunil Das's powerful Horse standing high on its hind legs and, K.G. Subramanyan's frolicking pair of Elephants are a treat.


In the folk art section, despite the inherent decorativeness, one is attracted to the deftly executed scenes from nature and mythology. Jangarh Singh Shyam, Venkataraman, Subhash and Nankhusia Shyam employ delicate lines and colourful dots to neatly compose and curiously position their human and animal forms. Some of the displayed paintings are representative of not only their talent and skill but fertile imagination as well.


The remaining sections bearing a large body of works are a mixed fare with some interesting paintings neighbouring run-of-the-mill ones. Among the eye-catching works are Kanchanmala's striking Study of a Boy, a couple of M.F. Husain's untitled but intriguing lithographs, Tapash Ghoushal's profiles in mood and concentration, K.S. Vishwambara's etching, At the Beach, Satish's woodcut on paper, Chillies, Gurudeep's flashing greens and yellows, Sanjeeb Roy's faces marked by sharply delineated eyes, and Babu Eswar Prasad's surrealistic mindscape as seen Through the Door.


The exhibition concludes on June 30.

ATHREYA

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