Atul Bose

Royal Academy Series-3, Pen & Ink on Paper, Modern Artist Atul Bose "In Stock"

1924-26

Sakti Burman (a) Untitled - 3 x 6 inches (Unframed size) Pen on Paper , 1992 (b) Untitled - 4.5 x 9 inches (Unframed size) Mixed Media on Paper , 1992 Framed & Door Deliver...

Atul Bose - Royal Academy Series-3 Pen & Ink on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Atul Bose - Royal Academy Series-4 Conte on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Atul Bose - Royal Academy Series-4 Conte on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Sakti Burman (a) Untitled - 7.5 x 9.5 inches (Unframed size) Watercolour on Paper (b) Untitled - 3 x 6 inches (Unframed size) Pen on Paper , 1992 (c) Untitled - 4.5 x 9 inc...

Somnath Hore - Untitled Pen & Ink on Paper, 10.6 x 6.7 inches, 25-03-1987 (Unframed & Delivered) Inclusive of shipment mounted not framed, Should you wish to receive the same framed...

Sonia "Spider" Quenell by Manuel Santelices Ink pen, watercolor, and gouache Image size: 11" x 14" Unframed 2022 Manuel Santelices explores the world of fashion, society, and pop c...

Contemporary Surreal Cartoon Pen & Ink Drawing on Canvas entitled 'Green Man' by Contemporary British Artist. A rainbow of colours emerges from the earth, as man reaches forward. Symbolic visionary art from creative drawings, meditations & psychedelic visions in the late 1990's. Art measures 16 x 12 inches Frame measures 21 x 17 inches Fil Earthstomp is an enigmatic artist and musician from deep in the subculture of England. Born in 1976, he produced mainly drawings in the 1990's, leading to electronic musical compositions and video installations...

Francesco Vanni is one of the last representatives of the long Sienese pictorial tradition. In this masterly composition in pen and ink wash, he presents the Virgin of the Rosary, holding the Child Jesus on her lap, surrounded on her right by Saint Dominic and on her left by Saint Catherine of Siena. The presence of these two emblematic saints of the Dominican order is a reminder of the devotion of this order to the Rosary. 1. Francesco Vanni, a Sienese painter of the Counter-Reformation Francesco Vanni was the most important Sienese painter of the late sixteenth century and a key Italian Counter-Reformation painter. He developed a very specific style, inspired not by Florentine models but rather by the Roman, Bolognese and Marche schools, and in particular by the work of his contemporary Federico Barocci (Urbino 1535 - 1612), despite the two artists never meeting. Francesco Vanni was born in Siena around 1563-1564. His father died in 1567 and his mother remarried Arcangelo Salimbeni (1536 - 1579), then one of Siena’s leading painters. His half-brother Ventura Salembini (1568 - 1613) also became a well-known painter. He continued his apprenticeship in Bologna and Rome, where he joined the painter Giovanni de Vecchi’s (1536 - 1614) studio, where he was greatly influenced, like other Tuscan painters of the time, by the art of Federico Barocci. He devoted himself mainly to religious painting, following the canons of the Counter-Reformation. Travelling between Siena, Rome, Bologna and Parma, in 1604, he settled in Siena, where he ended his life. Vanni was also an important member of the Confraternity of the Sacro Chiodo, renowned for its demanding religious practices. His legacy also includes some important engraved work. 2. Description of the artwork The Virgin is depicted enthroned in majesty, slightly taller than the other figures that she dominates from her pedestal. Her wide robe with marked folds evokes Renaissance statuary. She is crowned by two angels in the sky. These two angels are a reminder of the custom of adding angels to crown 13th century icons which was frequent at Vanni’s time. The Child Jesus is standing on the Virgin’s right knee. With her left hand she holds out a rosary to Catherine of Siena, identifiable by a branch of lily in her hand. In a symmetrical gesture, the Child Jesus also holds out a rosary to St Dominic. Two of St Dominic’s attributes are to be found at the foot of the Virgin: a book and a branch of lilies. Vanni gives particularly delicate treatment to St. Dominic's long and slender hands. The two outstretched rosaries form the link between the heavenly register of the Virgin and the Child Jesus and the earthly register of the two Dominicans who are not crowned with a halo. This and the fact they are followed by a large crowd, indicates that they are both represented as part of the multitude of the living called to pray to the Rosary. According to the classical iconographic tradition, it would be plausible to consider that the figure looking at the viewer on the extreme left of the drawing could be a self-portrait of the painter. Francesco Vanni's face is known to us from a self-portrait kept in the Pinacoteca Nazionale in Siena. The squaring of the drawing suggests that it was used for a larger-scale altarpiece, probably for a church dedicated to St Dominic or for a Dominican convent. As of today, we have not identified the painting for which this drawing served as a preparatory modello. The Madonna of the Rosary in the Cathedral of Pitigliano (painted by Francesco Vanni in 1609) differs quite significantly from our drawing by the addition of Pope Pius V, and the inclusion of St. Dominic and St. Catherine in the celestial register. We believe that our drawing predates this painting because of its more symmetrical composition, and less Baroque influence. The presence of Saint Catherine of Siena, particularly venerated in his native town, to which Francesco Vanni returned frequently from 1590 onwards, leads us to propose a date of around 1590 - 1600 for this drawing. 3. The Rosary and the Dominican Order In order to clarify the iconographic meaning of this artwork, it is worth recalling the role of Saint Dominic in the spread of the Rosary prayer. Dominic Nuñez de Guzman was born around 1170 in Caleruega (near Burgos) in Spain and died in 1221 in Bologna, Italy. He was the founder of the order of friar preachers, commonly known as the Dominicans. He was canonised by the Church in 1234 and has since been celebrated under the name of Saint Dominic. After three days of prayer in the forest of Bouconne, near Toulouse, Dominic is said to have received the Rosary as a means of converting the Cathar population. The Dominicans subsequently made a special effort to promote this form of meditative prayer. Pope Pius V, a Dominican, included the feast of the Rosary (on October 7th) in the liturgical calendar in 1571. Rosary prayer has evolved over the centuries and traditionally consists of the recitation of three rosaries (four since St John Paul II). Each rosary consists of five tens of "Hail Mary...

This vigorous drawing has long been attributed to Polidoro da Caravaggio: The Abduction of the Sabine Women is one of the scenes that Polidoro depicted between 1525 and 1527 on the façade of the Milesi Palazzo in Rome. However, the proximity to another drawing inspired by this same façade, kept at the Ecole des Beaux-Arts, and to other drawings inspired by Polidoro kept at the Musée du Louvre, leads us to propose an attribution to Biagio Pupini, a Bolognese artist whose life remains barely known, despite the abundant number of drawings attributed to him. 1. Biagio Pupini, a Bolognese artist in the light of the Roman Renaissance The early life of Biagio Pupini, an important figure of the first half of the Cinquecento in Bologna - Vasari mentions him several times - is still poorly known. Neither his date of birth (probably around 1490-1495) nor his training are known. He is said to have been a pupil of Francesco Francia (1450 - 1517) and his name appears for the first time in 1511 in a contract with the painter Bagnacavallo (c. 1484 - 1542) for the frescoes of a church in Faenza. He then collaborated with Girolamo da Carpi, at San Michele in Bosco and at the villa of Belriguardo. He must have gone to Rome for the first time with Bagnacavallo between 1511 and 1519. There he discovered the art of Raphael, with whom he might have worked, and that of Polidoro da Caravaggio. This first visit, and those that followed, were the occasion for an intense study of ancient and modern art, as illustrated by his abundant graphic production. Polidoro da Caravaggio had a particular influence on the technique adopted by Pupini. Executed on coloured paper, his drawings generally combine pen, brown ink and wash with abundant highlights of white gouache, as in the drawing presented here. 2. The Abduction of the Sabine Women Our drawing is an adaptation of a fresco painted between 1525 and 1527 by Polidoro da Caravaggio on the façade of the Milesi Palace in Rome. These painted façades were very famous from the moment they were painted and inspired many artists during their stay in Rome. These frescoes are now very deteriorated and difficult to see, as the palace is in a rather narrow street. The episode of the abduction of the Sabine women (which appears in the centre of the photo above) is a historical theme that goes back to the origins of Rome and is recounted both by Titus Livius (Ab Urbe condita I,13), by Ovid (Fasti III, 199-228) and by Plutarch (II, Romulus 14-19). After killing his twin brother Romus, Romulus populates the city of Rome by opening it up to refugees and brigands and finds himself with an excess of men. Because of their reputation, none of the inhabitants of the neighbouring cities want to give them their daughters in marriage. The Romans then decide to invite their Sabine neighbours to a great feast during which they slaughter the Sabines and kidnap their daughters. The engraving made by Giovanni Battista Gallestruzzi (1618 - 1677) around 1656-1658 gives us a good understanding of the Polidoro fresco, allowing us to see how Biagio Pupini reworked the scene to extract this dynamic group. With a remarkable economy of means, Biagio Pupini takes over the left-hand side of the fresco and depicts in a very dense space two main groups, each consisting of a Roman and a Sabine, completed by a group of three soldiers in the background (which seems to differ quite significantly from Polidoro's composition). The balance of the drawing is based on a very strongly structured composition. The drawing is organised around a median vertical axis, which runs along both the elbow of the kidnapped Sabine on the left and the foot of her captor, and the two main diagonals, reinforced by four secondary diagonals. This diamond-shaped structure creates an extremely dynamic space, in which centripetal movements (the legs of the Sabine on the right, the arm of the soldier on the back at the top right) and centrifugal movements (the arm of the kidnapper on the left and the legs of the Sabine he is carrying away, the arm of the Sabine on the right) oppose each other, giving the drawing the appearance of a whirlpool around a central point of support situated slightly to the left of the navel of the kidnapper on the right. 3. Polidoro da Caravaggio, and the decorations of Roman palaces Polidoro da Caravaggio was a paradoxical artist who entered Raphael's (1483 - 1520) workshop at a very young age, when he oversaw the Lodges in the Vatican. Most of his Roman work, which was the peak of his career, has disappeared, as he specialised in facade painting, and yet these paintings, which are eminently visible in urban spaces, have influenced generations of artists who copied them abundantly during their visits to Rome. Polidoro Caldara was born in Caravaggio around 1495-1500 (the birthplace of Michelangelo Merisi, known as Caravaggio, who was born there in 1571), some forty kilometres east of Milan. According to Vasari, he arrived as a mason on the Vatican's construction site and joined Raphael's workshop around 1517 (at the age of eighteen according to Vasari). This integration would have allowed Polidoro to work not only on the frescoes of the Lodges, but also on some of the frescoes of the Chambers, as well as on the flat of Cardinal Bibiena in the Vatican. After Raphael's death in 1520, Polidoro worked first with Perin del Vaga before joining forces with Maturino of Florence (1490 - 1528), whom he had also known in Raphael's workshop. Together they specialised in the painting of palace façades. They were to produce some forty façades decorated with grisaille paintings imitating antique bas-reliefs. The Sack of Rome in 1527, during which his friend Maturino was killed, led Polidoro to flee first to Naples (where he had already stayed in 1523), then to Messina. It was while he was preparing his return to the peninsula that he was murdered by one of his assistants, Tonno Calabrese, in 1543. In his Vite, Vasari celebrated Polidoro as the greatest façade decorator of his time, noting that "there is no flat, palace, garden or villa in Rome that does not contain a work by Polidoro". Polidoro's facade decorations, most of which have disappeared as they were displayed in the open air, constitute the most important lost chapter of Roman art of the Cinquecento. The few surviving drawings of the painter can, however, give an idea of the original appearance of his murals and show that he was an artist of remarkable and highly original genius. 4. The façade of the Milesi Palace Giovanni Antonio Milesi, who commissioned this palace, located not far from the Tiber, north of Piazza Navona, was a native of the Bergamo area, like Polidoro, with whom he maintained close friendly ties. Executed in the last years before the Sack of Rome, around 1526-1527, the decoration of Palazzo Milesi is considered Polidoro's greatest decorative success. An engraving by Ernesto Maccari made at the end of the nineteenth century allows us to understand the general balance of this façade, which was still well preserved at the time. The frescoes were not entirely monochrome, but alternated elements in chiaroscuro simulating marble bas-reliefs and those in ochre simulating bronze and gold vases...

Figure and child by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 8 x 5.5 inches provenance: artists estate, France condition: very good and sound ...

Minimalist Figurative Drawing by Cuban artist Juan Carlos Vazquez Lima. Original Unique Piece. Juan Carlos was born in Havana Cuba June 30th 1986. He Studied at Eduardo Garcia Delg...