Indra Dugar

Traveling, Mother and Child, Ink on Paper, by Indian Modern Artist "In Stock"

1963

Indra Dugar - Untitled - 10.5 x 8 inches (unframed size) 16 x 18.5 inches ( framed size ) This is a two sided work, Recto & Verso. Ink on paper. Inclusive of shipment in framed fo...

Indra Dugar - Untitled - 10.5 x 8 inches (unframed size) & 16 x 18.5 inches ( framed size ) Ink on paper Inclusive of shipment in framed form. About the Artist & his work : Born : ...

Gouranga Beshai - Untitled - 11 x 8.5 inches ( unframed size ) Watercolour on Paper ** Shipped in roll form. Style : Drawing inspiration from Hemen Mazumdar, Gouranga too has fash...

Dhiraj Chowdhury - Untitled - 14 x 10 inches (unframed size) ink on Paper ( Unframed & Door Delivered ) Style of the Artist : He steadfastly believes that art has to be closely associated with life – with humanity, with humanism. And he comes through with this concept in his works – which are sometimes heart – reading, sometimes violent, brutal even chaotic, but always cogent, modern, and somehow loaded with both wisdom and hope. About the Artist and his work : Born : 1936, West Benagal, India...

Abesh Bivore Mitra - Transformed faces II - 15 x 11 inches (unframed size) Ink & Mixed Media on thick imported hard paper. Style : Abesh Bivore Mitra is a Kolkata based artist. Abesh’s works are based on issues and project related to Urbanisation, Transformed Landscape, Public Sphere and Migration. Sometimes it depends on curatorial perspectives like ‘Democracy’,' Art against Terrorism’ and ‘Black & white’. He simultaneously has exhibited his woks in Institutional spaces and Gallery Spaces in India and abroad. As per his art practice he uses different mediums like Paintings, Installation – Photo Documentation - Graphics and Book Art which means he is combining together conventional and non conventional art practice medium as well as his own visual language. About the Artist and his work : Born:1965 Education: 1994 : He did his BFA from Kala Bhavan,Visva Bharati University, Santniketan. 1996 : MFA from M.S. University, Vadodara, Gujarat. Solo Shows : 2003 : Curated solo exhibition in three parts -1) Migration 2) Urbanisation 3) Transformation under the mother project: of "Public Sphere" at Nandan Art Gallery, Santiniketan. 2001-02 : ‘Le Paysage transforme’-The Transformed Landscape – Solo Exhibition & Slide show-conference on past / present works organised by Ecole Supérieure des Beaux-Arts du Mans, Le Mans, France. 2002 : Le Paysage Transformé (The Transformed Landscape) – Solo Exhibition at Galerie les Comptoirs...

Abesh Bivore Mitra - Transformed faces VI - 15 x 11 inches (unframed size) Ink & Mixed Media on thick imported hard paper. Style : Abesh Bivore Mitra is a Kolkata based artist. Abesh’s works are based on issues and project related to Urbanisation, Transformed Landscape, Public Sphere and Migration. Sometimes it depends on curatorial perspectives like ‘Democracy’,' Art against Terrorism’ and ‘Black & white’. He simultaneously has exhibited his woks in Institutional spaces and Gallery Spaces in India and abroad. As per his art practice he uses different mediums like Paintings, Installation – Photo Documentation - Graphics and Book Art which means he is combining together conventional and non conventional art practice medium as well as his own visual language. About the Artist and his work : Born:1965 Education: 1994 : He did his BFA from Kala Bhavan,Visva Bharati University, Santniketan. 1996 : MFA from M.S. University, Vadodara, Gujarat. Solo Shows : 2003 : Curated solo exhibition in three parts -1) Migration 2) Urbanisation 3) Transformation under the mother project: of "Public Sphere" at Nandan Art Gallery, Santiniketan. 2001-02 : ‘Le Paysage transforme’-The Transformed Landscape – Solo Exhibition & Slide show-conference on past / present works organised by Ecole Supérieure des Beaux-Arts du Mans, Le Mans, France. 2002 : Le Paysage Transformé (The Transformed Landscape) – Solo Exhibition at Galerie les Comptoirs...

"Spring of Hope," encapsulates the essence of the artwork. Just as spring represents a season of rejuvenation and new beginnings, the woman in this piece embodies the idea of hope blooming anew. The flowing scarf, with its gentle and fluid movement, conjures images of a gentle breeze, carrying with it the promise of better days ahead. Oyindamola's use of color in "Spring of Hope" is both intentional and evocative. She employs soft, pastel hues that evoke a sense of serenity and optimism. The woman's visage radiates tranquility, and her eyes suggest a moment of introspection and inner peace. It's as if she is embracing the beauty of the present while eagerly anticipating the opportunities that the future may hold. The central figure in "Spring of Hope" is rendered with remarkable attention to detail. Oyindamola captures the elegance and grace of the woman, who exudes a sense of poise and strength. Her closed eyes convey a sense of trust and surrender, suggesting a willingness to embrace the unknown with open arms. Symbolism plays a crucial role in this artwork. The scarf, flowing around the woman's neck, is a powerful symbol of continuity and resilience. It represents the idea that no matter the challenges faced, there is always a thread of hope that connects us to a brighter future. The scarf's circular form also signifies the cyclical nature of life, where endings inevitably give way to new beginnings. "Spring of Hope" is a painting that resonates deeply with viewers, inviting them to reflect on the ever-present possibility of renewal in their own lives. The closed eyes of the woman encourage introspection and a sense of connection with the universal human experience of longing for better days. Oyewumi Oyindamola...

The Black Indian Chief, 2024 by contemporary African American artist Bai (Carl Karni-Bain), is a 30 x 22in acrylic, oil pastel, and ballpoint pen portrait painting on etching paper. ...

Woman with a Bull, 2023 by contemporary African American artist Bai (Carl Karni-Bain), is a 30 x 22in acrylic, oil pastel, and ballpoint pen figurative painting on etching paper. Th...

The work is mostly black and white to indicate that this is a night scene. On closer inspection, you will see areas of magenta and ivory throughout The publisher's label on verso ide...

"My Lady" is a testament to the artist's admiration for the beauty that women possess in their unique forms. Oyindamola skillfully captures the essence of femininity through the lady's enchanting smile, which radiates joy and confidence. This portrayal challenges society's narrow definitions of beauty, reminding us that every woman, regardless of societal standards, possesses an innate beauty that should be recognized and celebrated. Through "My Lady," Oyindamola emphasizes the crucial need to respect and appreciate all women. The artwork stands as a visual proclamation, demanding that society view women not as objects to be scrutinized or judged but as individuals deserving of dignity and admiration. By depicting the lady with a smile on her face, the artist reminds us that every woman deserves to be seen and treated with respect, acknowledging her inherent worth beyond physical appearances. In "My Lady," Oyindamola captures a sense of empowerment and self-love that every woman should embrace. The lady's radiant smile symbolizes her self-assuredness and acceptance of her own beauty. By presenting this image, the artist encourages women to recognize their own worth and appreciate their individuality. The artwork serves as a reminder that self-love is the foundation for demanding respect and appreciation from others. "My Lady" challenges the stereotypes and societal norms that often diminish the value and potential of women. Oyindamola's artwork sparks a dialogue about gender equality, urging viewers to reflect on the importance of dismantling the barriers that prevent women from fully expressing themselves and realizing their dreams. By portraying the lady as a strong and confident figure, the artist invites us to redefine our perceptions of women and advocate for their empowerment. Through "My Lady," Oyindamola underscores the importance of unity and inclusivity in championing the rights and recognition of all women. The artwork emphasizes that beauty comes in diverse forms and that every woman, regardless of race, age, or background, should be valued and respected. The lady's smile and the necklace she wears become symbols of unity, reminding us of the strength and beauty that arise from embracing diversity. Oyewumi...

In "Backyard," the central figure—a woman—commands attention against a backdrop of natural beauty. She stands in her own space, seemingly lost in thought, creating an atmosphere of both stillness and introspection. Adetayo's portrayal of this woman invites viewers to consider the emotions and thoughts that might be coursing through her mind. Is she reflecting on memories? Contemplating her place in the world? The interpretation becomes a personal journey for each observer. The landscape that envelops the woman is not just a passive backdrop but a powerful metaphor. Just as the external world shapes our internal experiences, the landscape symbolizes the myriad influences that contribute to one's sense of self. The woman's connection to the environment around her mirrors the intricate relationship between identity and surroundings. The notion of a "backyard" often evokes a sense of familiarity and intimacy. It is a space that is uniquely personal, and this artwork invites us to ponder what this personal space means for the woman depicted. In much the same way, we are all shaped by our own "backyards"—our histories, cultures, and experiences that come together to form our individual identities. The tranquility of the artwork encourages viewers to embrace the beauty of stillness and contemplation. In a world that often moves at breakneck speed, "Backyard" reminds us of the value of taking a moment to disconnect, reflect, and connect with our own thoughts and emotions. The woman's posture, relaxed and poised, suggests that she is attuned to this moment of quiet introspection. Adetayo's choice to depict a woman adds an additional layer of significance. Historically, women have been portrayed as subjects of scrutiny and objectification, often with their thoughts and emotions overlooked. "Backyard" challenges this norm by presenting a woman as the focal point of a scene that radiates depth and complexity. While "Backyard" is a singular artwork with a specific subject, its themes resonate universally. Regardless of gender or background, the artwork invites viewers to reflect on their own personal landscapes, the spaces they occupy, and the introspective moments that shape their lives. Adetayo's ability to capture such universal themes while maintaining a unique and personal touch is a testament to the power of art to bridge gaps and foster connections across diverse audiences. Adeniyi Joshua Adetayo...