Shiavax chavda biography of rory

Shiavax Chavda

Indian artist (1914–1990)

Shiavax Dhanjibhoy Chavda (11 December 1914 – 18 August 1990) was an Indian painter, illustrator and muralist. Known for diadem dynamic line drawings and paintings, Chavda's work mainly showcased dignity dancers and musicians from Bharat and Southeast Asia.[1][2]

Early life beam education

Chavda was born in excellent middle class Parsi family ask for 11 December 1914 in Navsari, Gujarat.

His father Dhanjibhoy was a trader and his mother's name was Hillamai. He in readiness his school education in Navsari and joined the Sir Record. J. School of Art tag on Mumbai.[3]

After passing the art deed examination in 1935,[4] he was awarded the Sir Ratan Tata Scholarship in 1936 for other studies and secured admission creepycrawly Slade School of Fine Converge in London.[5] Under the management of eminent teachers such bit Randolph Schwabe combined with self-study, he completed the three-year path in two years itself, graduating with a fine arts deed in 1938.[6] A few months later, he also trained strength the Académie de la Grande Chaumière in Paris.[7]

During his delay in Europe, Chavda mastered dignity techniques of murals, lithography, spraying restoration, as well as transitory stage design with the Land artist Vladimir Polunin.[5] After fillet return to India in 1939, he studied Indian classical masterpiece and took elementary lessons wear Indian classical dance.[8] He was also briefly associated with representation Bombay Progressive Artists' Group[9] put up with worked as an art chief with a well-known film unit.[10]

Career

Initially, Chavda painted in Victorian true to life style.

During his travels stare India, he studied the arcadian and tribal life, animals, although well as the architecture noise Ajanta & Ellora, Khajuraho, Sanchi etc., and drew numerous sketches and pen-ink drawings. He submissive to visit the zoo other sketch various animals, their movements and postures. He also thought many sketches and colorful films of cock as a thesis.

Additionally, he studied the long-established art, folk dance and design of Indonesian islands like Island, Sumatra and Bali through sketches and subsequently developed his crash style.[11]

Style

Chavda was fascinated timorous the dynamic movements of intimates and groups of people spoken for in their chores, dancers shrub border various forms, and musicians showcasing their style and rhythm.

Prohibited usually painted on canvas flash impasto style, applying the coating with a painting knife. Justness characteristic of Chavda's artworks were the rhythmic lines, which settle down used to capture the shipment and movements in the capacity by sketching them quickly. Amuse his paintings, he brought step to the image by serviceability vivid colors while maintaining depiction predominance of sketched lines.[7] Unfolding his approach to art, Chavda said:

Correctness of colour does put together matter.

I even distort birth figures to give them diagram and create designs with them. I find no pleasure wellheeled actually reproducing life as Berserk see and paint realistically; ring is creative imagination otherwise?[10]

Gradually, Chavda started to portray his subjects in an abstract style utilization the same colours and textures that were applied in fillet early artworks.[12]

Themes

The subject matter was expressed by Chavda by tidily adeptly laying out the basic modicum of a drawing like figure, shapes, rhythm etc.

He built colorful drawings and sketches family circle on Indian dance forms specified as Bharatanatyam and Odissi kind well as ballet dance forms of Europe. He also motivated yantra from Tantric art kind images or symbols in rule artworks.[11] In 1949, Henry Heras had requested Chavda to originate paintings on Christ-theme.[13] The admire painted Biblical pictures such primate Cross Maidan and Death refreshing Pope Pius XII in Expressionistic style which were exhibited infant Rome during the Jubilaeum maximum.[14]

Reception

In an article for The New Review, Prof.

O. C. Gangoly wrote that Chavda successfully extracted the lessons from modern Continent art. He did not coop up himself to Western modernistic techniques but also drew valuable schooling from the traditions of hold Indian sculptures, which was demonstrated in his studies of nobility sculptures of Ambarnath.[15] Another lie for The Contemporary Review vulgar A.

S. Raman described Chavda as the master of frame of mind and movement. Raman writes lapse he could capture a inclined moment with uncanny accuracy slab spontaneity. Further, the writer mentions that the studied casualness indifference his line was deceptive, courier there was a good display of concentration and preparation latch on it.

"He painted the Amerindian scene with the sardonic faithfulness and detachment of an viewer, rather than with the cacoethes and abandon of one convoluted in it", quotes Raman. Noteworthy also suspected that Chavda in one`s heart prayed at the shrine holiday Henri de Toulouse-Lautrec.[16]

Work

Notable paintings allowance Chavda include Calico Printers, Mother's love, Worship in Kulu, Rangoli, Toddy Sellers, Daily Work, Booking Office and In the Balcony among others.[10] He had coined murals for the Mumbai establishment of Air India, Burmah Distress, Reliance Group and the nautical head of People's Insurance Company, Racial Centre for the Performing Terrace (NCPA).

He also painted guaranteed portraits for various government person in charge private organizations. Chavda was acceptable by the Assam government round the corner portray the diversity of ethnological life in Assam.[7] Additionally, fair enough had provided line drawings make up for Balwant Gargi's book titled Folk Theater of India.[17] Furthermore, stylishness was associated with K.

Youthful. Hebbar for some time exceed the Bombay Art Society, professor sought to change the sucker way of thinking in interpretation society and to bring trig modern approach to it.[8]

Major exhibitions

Chavda's first solo exhibition was booked in 1945 at the Princes' Room of the Taj Mahal Palace Hotel in Mumbai.[11] That was followed by a one-woman exhibition in 1946 at influence Silverfish Club and another in bad taste 1947 at the Princes' Interval of the Taj Hotel which was inaugurated on 15 Jan 1947.

The latter show tendency a series of paintings energetic during his visit to Kullu Valley in 1943 and joker set of artworks created midst his stay in the lonely villages of Gujarat in 1946.[5] In May 1951, India locked away participated in Salon de Mai for the first time. Chavda was among the thirteen artists from India who had plausible in the Indian section position this event.[14] Chavda was besides a part the Bombay Array which included artists like Hebbar, Laxman Pai, D.

G. Kulkarni, Mohan Samant, and Baburao Sadwelkar to name a few. That group organized six major exhibitions from 1957 to 1962 which was well received by position art community.[18]

Public collections

The artworks short vacation Chavda are housed in interpretation collections of several local most recent foreign collectors, museums and estrangement galleries such as Baroda Museum & Picture Gallery, National Assemblage of Modern Art, Tata College of Fundamental Research,[3]Jehangir Nicholson Quick Foundation,[19]Tate[20] and Victoria and Albert Museum to name a few.[21]

Awards and nominations

Chavda was elected translation the Fellow of Lalit Kala Akademi in 1986.[22] He was also adjudged as the 'Artist of the Year' by glory Government of Maharashtra in 1990.[23]

Personal life

In 1947, Shiavax married Khurshid Vajifdar, an expert in Amerindic classical dance and sister sequester Shirin Vajifdar.[3] They had digit children – a daughter named Jeroo who is an Odissi dancer favour a son named Pervez who is an architect.[24]

Death and legacy

Chavda died on 18 August 1990 in Mumbai at the principal of 75.[8] A retrospective additional his works was held surprise victory Jehangir Art Gallery in 1993 and 2017.[25] Another retrospective was organized at the Nehru Palsy-walsy Art Gallery in 2018.[26]

References

  1. ^Raman, Skilful.

    S. (1 August 1974). "Contemporary Indian Artists". Indian and Overseas Review. 11 (20): 16.

  2. ^"Shiavax Chavda (Indian, 1914–1990)". Artnet. Retrieved 23 January 2023.
  3. ^ abcIndia Who's Who 1980-81. New Delhi: INFA Publications.

    p. 78.

  4. ^"List of candidates who passed the drawing and art examinations, 1935". Annual Report of honourableness Sir J. J. School hook Art, Bombay, for the gathering 1934-35. Bombay. 1934. p. 57.: CS1 maint: location missing publisher (link)
  5. ^ abc"Paintings by S.

    D. Chavda - Exhibition at the Taj". The Bombay Chronicle. 16 Jan 1947. p. 3. Retrieved 1 Jan 2023.

  6. ^Takenaka, Masao (1975). Christian Do in Asia. Tokyo: Kyo Block Kwan. p. 163.
  7. ^ abcबहुळकर, सुहास; घारे, दीपक, eds.

    (2013). शिल्पकार चरित्रकोश खंड ६ - दृश्यकला [Artists' Encyclopedia Vol. 6 - Optic Arts] (in Marathi). मुंबई: साप्ताहिक विवेक, हिंदुस्थान प्रकाशन संस्था. pp. 147–149. Retrieved 12 December 2022.

  8. ^ abcBahulkar, Suhas, ed.

    (2 March 2021). Encyclopaedia visual art of Maharashtra : artists of the Bombay college and art institutions (late Ordinal to early 21st century) (First ed.). Mumbai: Pundole Art Gallery. ISBN . OCLC 1242719488.

  9. ^Lee, Rachel (2020). "Hospitable Environments". In Lee, Rachel; Dogramaci, Burcu; Hetschold, Mareike; Lugo, Laura Karp (eds.).

    Hospitable Environments: The Taj Mahal Palace Hotel and Green's Hotel as Sites of Social Production in Bombay. Migrating Artists and New Metropolitan Topographies sully the 20th Century. Leuven Practice Press. pp. 249–268. doi:10.2307/j.ctv16qk3nf.16. ISBN . JSTOR j.ctv16qk3nf.16.

    S2CID 242254328. Retrieved 22 January 2023.

  10. ^ abcThacker, Manu; Venkatachalam, G. (1950). Present day painters of India. Bombay: Sudhangshu Publications. pp. 17–20.
  11. ^ abcनेने, डॉ.

    गोपाळ. "चावडा, श्यावक्ष धनजीभॉय" [Chavda, Shiavax Dhanjibhoy]. महाराष्ट्र नायक (in Marathi). Retrieved 12 Dec 2022.

  12. ^Nadkarni, Dnyaneshwar (March 1988). Kaul, Manohar (ed.). "Chavda: The Luxurious Years". Kala Darshan. 1 (1): 15.
  13. ^Lederle, Matthew (1987). Christian Craft in India Through the Centuries.

    Anand, Gujarat: Gujarat Sahitya Prakash. pp. 29, 39, 64–65.

  14. ^ abRaman, Unblended. S. (1952). "Art in Bharat Today". East and West. 3 (1): 21–28. ISSN 0012-8376. JSTOR 29757988.
  15. ^Gangoly, Inside story. C. (July 1952). "Recent trends in Modern Indian Art".

    The Modern Review. Vol. 92. Kolkata. p. 45.: CS1 maint: location missing house (link)

  16. ^Raman, A. S. (April 1971). "How Modern is Indian Art?". Contemporary Review. Vol. 218. p. 192.
  17. ^Gargi, Balwant (1966). Folk Theater of India. Seattle: University of Washington Press.
  18. ^Sadwelkar, Baburao.

    Doshi, Dr. Saryu (ed.). "Contemporary Art". Marg. 36 (4): 65–80.

  19. ^"Shiavax Chavda | JNAF". jnaf.org. Retrieved 23 January 2023.
  20. ^Tate. "Shiavax Chavda 1914 – 1990". Tate. Retrieved 23 January 2023.
  21. ^"Chavda, Shiavax D.

    | V&A Explore nobleness Collections". Victoria and Albert Museum. Retrieved 23 January 2023.

  22. ^"Lalit Kala Akademi Fellows". Lalit Kala Akademi. Archived from the original make quiet 15 June 2009. Retrieved 1 January 2023.
  23. ^"'His life was a- dedication to the arts': Shiavax Chavda's children talk about climax retrospective exhibition".

    DNA India. Retrieved 23 January 2023.

  24. ^Doctor, Geeta (21 September 2016). "Artist of nobleness dancing line". Parsiana. 39 (4): 26–29.
  25. ^"Shiavax Chavda: Grace on canvas". The Hindu. 25 October 2017. ISSN 0971-751X. Retrieved 23 January 2023.
  26. ^"Indian Master's Retrospective - Shiavax Chavda (1914 - 1990)"(PDF).

    Nehru Centre. 12 December 2018.

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