Compiled by london swaminathan

Date: 27 FEBRUARY 2019

GMT Time uploaded in London – 16-50

Post No. 6129

Pictures shown here are taken from various sources including google, Wikipedia, Facebook friends and newspapers. This is a non- commercial blog. ((posted by AND

Picasso  is An Investment!

Although the French public at first said only that cubism was crazy, a leading art merchant added,
“I am now buying Picasso and not because I have any taste for him but because he will be worth a lot of money some day”.



Honere de Balzac lived many years in a cold and all but an empty attic. There was no flame in his fire place, no picture on his wall. But on one wall he inscribed with charcoal,
Rosewood panelling with commode; on another Gobelin tapestry with Venetian mirror, and in the place of honour over the fireless grate,
Picture by Raphael.

(Honoré de Balzac was a French novelist and playwright. The novel sequence La Comédie humaine, which presents a panorama of post-Napoleonic French life, is generally viewed as his magnum opus.)



When someone asked the famous painter Orpen
How do you mix your colours?
He answered
“With brains, sir.”

(Major Sir William Newenham Montague Orpen, KBE, RA, RHA, was an Irish artist who worked mainly in London. Orpen was a fine draughtsman and a popular, commercially successful, painter of portraits for the well-to-do in Edwardian society, though many of his most striking paintings are self-portraits.)



The artist Turner invited Charles Kingsley, the author, to his studio to view his picture of a storm at sea. Kingsley was wrapped in admiration .
How did you do it, Turner? He exclaimed.

I wished to paint a storm at sea, answered Turner, so I went to the coast of Holland and engaged a fisherman to take me out in his boat in the next storm. The storm was brewing, and I went down to his boat and bade him bind me to its mast. Then he drove the boat out into the teeth of the storm. The storm was so furious that I longed to be down in the bottom of the boat and allow it to blow over me. But I could not; I was bound to the mast. Not only did I see the storm and feel it, but it blew into me till I became part of the storm. And then I came back and I painted that picture “

Joseph Mallord William Turner RA, known as J. M. W. Turner 1775-1851,and contemporarily as William Turner, was an English Romantic painter, printmaker and watercolourist. He is known for his expressive colourisations, imaginative landscapes and turbulent, often violent marine paintings

Xxx SUBHAM xxxx

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  1. Rama Nanjappa

     /  February 28, 2019

    “Not only did I see the storm and feel it, but it blew into me till I became part of the storm.”

    Turner has tumbled on a very significant truth about art, or knowledge, in general in this single sentence. And it brings him close to the Indian conception of art and knowledge, as distinct from the Western.
    The Western idea of art is imitation of nature. This is primarily guided by the senses. That is why their paintings look like photographs. It is very objective in method, and the artist remains aloof from his art.
    In India, the idea is that true knowledge comes by “identity” with the subject- if I have to know a tiger, i should become one with the tiger ie enter the tiger’s consciousness and the tiger’s consciousness has to enter into me. I cannot really ‘know’ a tiger unless I become one! This is “direct perception” , over the impressions of the senses and the intellect. Then the tiger I paint or draw is not an external object, but a part of me! Thus the object of a genuinely Indian artist is not to imitate external nature, but to depict its internal essence or soul r spirit as experienced through his consciousness.
    Sri Aurobindo says:
    “The European artist gets his intuition from a suggestion from an appearance in life and Nature….The theory of ancient Indian art at its greatest of another kind. Its highest business is to disclose something of the Self, the Infinite, the Divine to the regard of the soul, the Self through its expressions, the Infinite through its living finite symbols, the Divine through his powers.
    “He has to see first in his spiritual being the truth of the thing he must express and to create its form in his intuitive mind; he is not bound to look out first on outward life and Nature for his model…it is something quite inward he has to bring out into expression.
    ” The Indian sculptor stresses something behind, something more remote to the surface imagination, but nearer to the soul and subordinates to it the physical form.
    “He has not for instance to re-create for us the human face and the body of the Buddha or some one passion or the incident of his life, but to reveal the calm of Nirvana through a figure of the Buddha. ”
    [ Sri Aurobindo: The Renaissance in India, 1997, page: 255-269]
    Thus we can see how strikingly close Turner has come to the Indian spirit! He became part of the storm, or the storm became part of his consciousness; then he came and painted it! This is more than intellect or even intuition fed by the intellect or senses, but identity!
    Seen in this background, our own Raja Ravi Varma became European in method and spirit, trying to imitate Nature!

  2. Rama Nanjappa

     /  February 28, 2019

    In this context, I may quote the Chinese Master Zhuzngzi :

    “Once upon a time, I, Chuang Chou, dreamt I was a butterfly, fluttering hither and thither, to all intents and purposes a butterfly. I was conscious only of my happiness as a butterfly, unaware that I was Chou. Soon I awaked, and there I was, veritably myself again. Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly, dreaming I am a man. Between a man and a butterfly there is necessarily a distinction. The transition is called the transformation of material things.”
    [Translation by Lin Yutang]

  3. Good one. Thanks..

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