554
SWAMINATHAN, JAGDISH

Untitled (Bird, Tree and Mountain Series).

Öl auf Leinwand,
80x115 cm

(Bitte scrollen Sie nach unten für die deutsche Version.)

Provenance: Dhoomi Mal Gallery (DMG), New-Delhi, no. DMG174/JS/9; Private ownership, Switzerland.

Exhibition: Exhibition of paintings by J. Swaminathan, Dhoomi Mal Gallery, New Delhi, 16 February – 3 March 1979 (the exhibition brochure is enclosed to the work).

The work on offer is a conceptual landscape painted in shades of yellow, green and red with surrealistic features – such as the staircase leading nowhere and the shadow of the tree. Beginning in the 1970s Swaminathan devoted himself to this theme for the next two dacades - known as the "Bird, Tree and Mountain Series". The artist commented on this period as follows: "After the Colour Geometry show I entered the now famous phase of the bird, the mountain, the tree, the reflection, the shadow, and it lasted for quite a while (...). However, the obsession was wonderful while it lasted and what better tribute would a painter want than a letter from a collector saying that my work brought peace and tranquillity into her house." (Lalit Kala Contemporary, New-Delhi, March1995, no. 40, p. 11).

Provenienz: Dhoomi Mal Gallery (DMG), Neu-Delhi, Nr. DMG174/JS/9; Privatbesitz, Schweiz.

Ausstellung: Exhibition of paintings by J. Swaminathan, Dhoomi Mal Gallery, Neu-Delhi, 16. Februar - 3. März 1979 (die Ausstellungsbroschüre wird dem Werk beigegeben).

Im vorliegenden Gemälde ist eine konzeptuelle Landschaft in Gelb-, Grün- und Rottönen mit surrealistischen Merkmalen - wie etwa die ins Nichts führende Treppe und der Schlagschatten des Baumes - festgehalten. Ab den 1970er Jahren beschäftigte sich Swaminathan über zwei Jahrzehnte hinweg mit diesem Sujet, das unter der Bezeichnung "Bird, Tree and Mountain Series" geläufig ist. Der Künstler selbst äusserte sich wie folgt dazu: "After the Colour Geometry show I entered the now famous phase of the bird, the mountain, the tree, the reflection, the shadow, and it lasted for quite a while (...). However, the obsession was wonderful while it lasted and what better tribute would a painter want than a letter from a collector saying that my work brought peace and tranquillity into her house." (Lalit Kala Contemporary, Neu-Delhi, März 1995, Nr. 40, S. 11).