Suprematism. Kasimir Malevich
Suprematism. Kasimir Malevich

With its focus on geometrical shapes and forms, the art movement known as Suprematism was founded by the Russian artist Kazimir Malevich around the year 1913. Yet the term as applied to Abstract Art also refers to the supremacy of artistic feeling and not merely the depiction of objects. Pure feeling is the heart of the Suprematism ethic and Malevich expounded upon it in his work From Cubism and Futurism to Suprematism: the New Realism in Painting. Malevich’s movement is often associated with art of the early Soviet Union which was particularly open to his concepts and new visions for art direction.

Kazimir Malevich, Suprematism, 1916-17, Krasnodar Museum of ArtKazimir Malevich, Suprematism, 1916-17, Krasnodar Museum of Art

Art historians suggest that Malevich began moving toward his new aesthetic after working on operatic sets and costumes. In fact, his ideas began to take shape as he worked on the backdrops of various St. Petersburg operas. One such presentation was a backdrop that depicted a large square divided diagonally into black and white sections. By 1915 he created one of his most celebrated works, a painted black square atop a white canvas. The work is simply titled “Black Square” and is one of the most recognizable works of Suprematism. This work has been extremely influential as well as controversial.
Malevich, Black Square, 1913. First Suprematist ExhibitionMalevich, Black Square, 1913. First Suprematist Exhibition

Because of the era in which it was created–the era of the First World War and the Russian Revolution, “Black Square” has sometimes been viewed as a work of Nihilism and may be viewed as anti-Western. In fact, it was seen as anti-tradition as well. For the Soviets who were concerned about the influence of outside forces like European tradition and religion, the work symbolized a break from those elements. On the other hand, Malevich himself argued that the work was meant to convey the idea of zero-form. That is, he simply wanted to demonstrate a break from conventional art and the creation of new modes of picture or image-based language.
Kazimir Malevich, Black Circle, 1915, oil on canvas, 106.4 _ 106.4 cm, State Russian Museum, St. PetersburgKazimir Malevich, Black Circle, 1915, oil on canvas, 106.4 × 106.4 cm, State Russian Museum, St. Petersburg

Kazimir Malevich Paintings Kazimir malevich suprematism-in-the-Rye-Kazimir-Malevich-1911

Taking-in-the-Rye-Kazimir-Malevich-1911Kazimir Malevich Paintings Kazimir Malevich – Suprematism

Malevich led a group of Suprematists who thrived in the early years of the Soviet era when new ideas were embraced. Other artists associated with the movement include Aleksandra Ester, Ilya Chashnik, Olga Rozanova, and Nina Genke-Meller. Like many avant-garde artists, however, the Suprematists were eyed with suspicion and largely criticized during the Stalin years. While Suprematists are associated with early twentieth-century Russia, they had a strong impact on the rest of the art world which was also experimenting with new forms and new ideas during that period and many were breaking from the old conventions as well.
Construction - Aleksandra Ekster - 1923Construction – Aleksandra Ekster – 1923

Suprematist Composition 1923 Ilya Chashnik 1902-1929 Thyssen-Bornemisza Museum MadridSuprematist Composition 1923 Ilya Chashnik 1902-1929 Thyssen-Bornemisza Museum Madrid

Olga Rozanova – Colour Construction


Biplab Ghosh
Our New Artist of the Week is Biplab Ghosh – a young painter from Agartala, Tripura.
Biplab completed his Bachelor of Visual Arts in Drawing and Painting from the Govt College of Art and Craft, in 2013. He, subsequently completed his Masters in Fine Arts (Drawing & Painting) from Tripura University.
Bon in 1989, this young painter has already participated in several exhibitions where his works have won wide admiration. Some of the group exhibitions Biplab has participated in are in:
* Govt.Collage of Art & Craft * Rabindra Parisad
* Annual Exhibition at Govt.Collage of Art & Craft
* Art Gallery in City Center, Agartala
* Annual Exhibition in Tripura University
* Exhibition in Tripura State Museum
* Exhibition in Student Biennale
* Exhibition at Gauhati Astists Guild, Guwahati
About his work:

Biplab Ghosh’s works are political statements. “Politics is power,” says Biplab, “and present society is dependent on this power. Society runs behind it, for its own sake.” Biplab also believes that politics makes people meek and also biased, and where there is power, people cluster around. And yet, avers the painter, the real power is in the people, in society. It is society that controls the land and its politics. Biplab is inspired by this play of politics between the powers and society at large.



Dupatta with a Madhubani painting on it(From The Tribune)

Wear art on your sleeve
India’s folk and tribal art is no longer confined to walls of mud houses. It is finding a wider canvas like kurtas, dupattas, sarees, bags, clutches, phone covers, table mats, bedspreads and coffee mugs
India is lauded as the land of cultural and traditional diversity and one area which adds significantly to this medley is the Indian art and craft. Almost every single state can claim to have a unique art form and a traditional way to practice the same. Besides the folk or regional art, various art forms have been practiced by many tribes and rural population — which form the category of tribal art. The folk and tribal arts, though done with limited mediums and with traditional tools, present the liveliness of colours and the close-to-life scenes, illustrating our rich heritage.
Traditionally done on walls of kutcha (mud) houses, changing times have influenced the reach of these traditional and regional art styles significantly. Some of these art forms have become household names now. One can easily spot the dancing stick figures of Warli, Madhubani-style fine lines, murals of mythological scenes, vegetable-dyed Kalamkari, nature inspired Gond art — on almost any and every surface these days.
Hand-painted or weaved peacocks, fish and parrots, a marriage procession, women drawing water from village well, scenes from Krishna’s life and similar such patterns are commonly found in dress materials. From kurtas (for men and women), shirts, dupattas, sarees, bags, clutches, phone covers, table mats, bedspreads to coffee mugs — folk art on wearable and daily use items is in vogue these days.
Tribal goes global
The trademark of Warli paintings has been geometric shapes such as triangles, circles, dots and crooked lines to depict human figures, animals, houses, crops and much more. The subjects range from festivals, harvest, marriages to other familiar celebrations. Today, Warli paintings are done on paper, cloth, canvas and also on walls as murals. Jiya Soma Mashe, a respected artist of this art form, actually made it possible to take it from the limited borders of rural settings to the broad lights of cities and different countries. He says, “Warli art speaks of our way of life, our culture; it reveals the heart of the tribals.”
Gond is another Indian tribal art named after the largest tribe of central India by the same name. Predominantly inspired by nature and social customs, Gond art is the depiction of the same through a repetitive patterns of dots and dashes. Traditionally used for adorning walls, ceilings and floors of the houses, Gond art can be seen being draped by various fashionistas these days.
Kalamkari, as the name suggests, is done with a kalam (pen), and vegetable dyes are used to colour the designs applied on the cloth. The art form, which flourished near Hyderabad, usually highlights scenes and events from the lives of mythological deities along with other motifs. Intricate patterns, earthy fragrance of vegetable dyes and vibrant colours make the kalamkari creations stand apart. A hand-painted Kalamkari dupatta or a saree is considered a prized possession these days and beautiful work is actually worth the price that one needs to pay for owning one such piece of art.
Madhubani (Mithila) painting is yet another folk painting of northern India. Nature and mythology are used in this style to depict different events like birth, marriage and cycle of life. Acclaimed symbols of fertility and prosperity like fish, parrot, elephant, turtle, sun, moon, trees etc. are usually seen in these paintings. Intricate fine lines (kachni work), prominently highlighted eyes are trademark of Madhubani creations. One can see more and more of the typical designs of Madhubani being replicated on dress materials and sarees.
Sunanda Sahay grew up in Darbhanga, the heart of the Madhubani region. Her artistic interests led her to seek out practitioners of the art from local villages and learn directly from them. Settled in US, she now popularises the art via exhibitions, workshops and lectures in the New England area, and her style has stayed true to the traditional themes of mythology and social customs.
Suhasini, an ardent art lover, says, “I see these art forms of fabric as something special that we can give back to the tribes who created them. It’s celebration of our ethnicity and we have every reason to be proud and adorn ourselves with wearable art.” She loves to paint in Warli and Madhubani forms to create beautiful kurtas, wall hangings and bookmarks.
Extending boundaries
With world becoming a big global village, and with travelling and settling in away from birth place, becoming a regular feature, the next generation of the acclaimed artists and some patrons have picked up the cause of taking the art to different places. The authenticity and ethnicity of the Indian folk and tribal art is well respected all over the world. Fab fairs and exhibitions, which have become a routine feature in big cities, have worked wonders in promoting regional art forms and bringing them in the limelight that they so rightly deserved.
Weaves, Delhi Haat, Fab India are some of the authentic platforms which are giving artisans a way to bring their handicrafts directly to the users bypassing all hurdles in the form of middle parties. Online stores like Craftsvilla and Desihands are some websites which are turning out to be a boon for the artists who can put their stuff online and are free from all the hassles of connecting with buyers directly. The buyers are a happy lot, too, as they get to buy original art work directly from the artists through these websites, sitting anywhere in the world. Moreover, online shopping portals like Flipkart and the Indian chapter of Amazon have great options for the handcrafters to put their creations online.
Social networking
One cannot doubt the power of social media in the technology-driven present times. The news and trends spread like wild fire in the blink of an eye. If one is on any of the social networking sites, it is hard to miss what #100sareepact has already achieved in a small period of time. Other than the personal stories behind the sarees, more people are getting to know about the unique fabrics and art works of different regions. From materials ranging from chanderi, Sambalpuri, Kota, crepes, georgettes to kasavu and the art work spanning Warli, Madhubani, kasuti, tepchi, Kalamkari, baluchari, kantha, tie-and-dye and block printing, one gets to enjoy the elegance and beauty of what different regions have to offer.
With accessibility, affordability, choice and knowledge — not acting as stumbling blocks, regular fabrics and designs are a passé, what one looks for is uniqueness and earthiness in designs in the form of art work done on the dresses and accessories.
Media marketing
Various art forms have greatly benefited after being used on wearable stuff, says Sunanda Sahay. These have a wider market now and people can share and showcase the art more easily. Compared to wall paintings and decorative objects, wearable art is more democratic and affords a way for common people to express their individual styles and artistic tastes. It also underscores a resurging pride in ethnic traditions. Our traditional arts provide a genuine path for people to assert our own social roots and cultural heritage, and distance ourselves from a West-dominated mass media.



Painting restoration is the art and science of restoring old or damaged paintings to their original or a near-original state. This may include “resetting” a painting if it is set on damaged wood. Also “relining” the painting: attaching a new canvas to the back of the painting, if the original canvas is too fragile or damaged.

detail- before restoration
Detail – before Restoration

detail- after restoration
Detail – after Restoration

Priceless works of art fall prey to the elements and are damaged over the centuries. Dampness is a big destroyer of paintings and sculpture. This is the reason why many of you would have seen dehumidifiers in the better museums of the world.
Apart from that there is also general wear and tear and artworks that have been handled roughly show signs of damage. The very air is also another potent factor and the air inside museums and repositories have to be carefully controlled.
Much of time, restoration work is done on art works that have been wrought on mediums that do not last with time. These art works have to be restored even more carefully.
Masaccio-The Expulsion Of Adam And Eve From Eden-Before and After Restoration

RussianIcons Restoration_Smolenskaya

art restoration



All of you would have walked through older parts of cities and towns and seen foliage taking root in crumbling walls and masonry, and in the most improbable of places. Though this is very harmful for the building, it evokes feelings of decadence and nostalgia, and also reminds us that once these structures were proud and new and well looked after. Today’s decrepitude brings with it a sadness, a sadness that fills is when we stare that these once loved buildings, but passes by as we walk past them.




Jean Dubuffet - Assemblage
In terms of art, Assemblage is regarded as a process. Using found objects, artists produce three-dimensional compositions to create original art. Pablo Picasso is credited with introducing Assemblage to the art world. He, of course, was revered for his Cubist constructions among other art works. The term assemblage, however, wasn’t used until the 1950s. The artist Jean Dubuffet created his series of collage art called Assemblages d’Empreints, a work featuring butterfly wings. The term Assemblage stuck and other artist began to use it to describe their artistic process too.

Untitled-1 Marcel Duchamp moulé vif

Roue De Bicyclette - Marcel DuchampRoue De Bicyclette – Marcel Duchamp

While the term is associated with the mid-twentieth century, many artists along with Picasso favored this process for creating art. Marcel Duchamp, Vladimir Tatlin, and Louise Nevelson also practiced the Assemblage process for creating art. Works of Assemblage might feature natural or man-made objects in their compositions. It’s important to note, because the two are frequently confused, that assemblage is definitely dimensional in nature; collage, on the other hand, is a two-dimensional work that features pasted elements. Even so, it’s common for the two terms to be used interchangeably. Typically, Assemblage art features a sculpted appearance, but this is not always the case.

readymade-assemblage-by DuchampAssemblage by Marcel Duchamp

Artists who create Assemblage works can use any found objects they like. Stone, wood, shell, fabric, metal, or any other items are fair game for the Assemblage artist. When associated with the Cubists, for example, Assemblage art is often concerned with the notion of shape as well as the found objects’ composition. The arrangement of these items is also particular to the artist and, indeed, unique to the composition. Works of Assemblage tend to be very eclectic and highly original.

Still Life 1914 Pablo Picasso 1881-1973 Purchased 1969 Picasso, ‘Still Life’ 1914

s Famous Collage - Still Life With Chair CaningPablo Picasso’s Famous Collage – Still Life With Chair Caning

PICASSO - Glass of AbsinthePicasso: Glass of absinthe

Some of the best known examples of Assemblage art include works like Picasso’s Still-Life (1914) which showcases upholstery fringe and carved pieces of wood. This work can be viewed in person at London’s Tate Museum. Additionally, Picasso’s Glass of Absinthe made in the same year features an actual spoon in its composition; as an added element, the work is free-standing. The artist Richard Stankiewicz employed junk or scrap items to create Assemblage works. Tom Wesselmann was known for using bright and bold coloured synthetic items in his creations.

Tom WesselmannTom Wesselmann

DENVER, CO - JULY 1: Jeffrey Sturges, studio manager of the estate of Tom Wesselmann (walking foreground) supervises as members of the Denver Art Museum installation crew from left to right Ethan Tuers, Cary Hale, and Kevin Hester, put the finishing touches on Still Life #60 by artist Tom Wesselmann, a sculptural painting which includes six parts and measures more than 25 feet. Still life #60 is one of approximately 100 works by Wesselmann from the upcoming DAM exhibition "Beyond Pop Art: A Tom Wesselmann Retrospective" which opens July 13, 2014, inside the Hamilton building. (Photo by Kathryn Scott Osler/The Denver Post)Tom Wesselmann – sculpture

aTom Wesselmann maquette_for_smoker_1981_aluminium Art Sculpture

The Assemblage process afforded artists with a new mode of creating art. Some artists found it ideal for creating their vision of anti-art while others found it useful for creating environmental art works. As a highly flexible art form, Assemblage is still employed today. Many renowned works of Assemblage are housed in some of the most revered modern art museums of the world.

typewriter assemblage by Jeremy MayerTypewriter Assemblage by Jeremy Mayer

typewriter-people-jeremy-mayerTypewriter face by Jeremy Mayer

Video on works of an Artist NOAH PURIFOY Noah S. Purifoy (1917–2004) was an African American visual artist and sculptor, co-founder of the Watts Towers Art Centre, and creator of the Noah Purifoy Outdoor Desert Art Museum. He lived and worked most of his life in Los Angeles and Joshua Tree, California. He is best known for his assemblage sculpture, including a body of work made from charred debris and wreckage collected after the Watts Riots of August 1965. In the late 1980s, Purifoy moved to the Mojave Desert, and over the last fifteen years of his life built what is now the Noah Purifoy Outdoor Sculpture Museum. Located on 10 acres of open land near the town of Joshua Tree, California, the museum contains over one hundred works of art, including large scale assemblages, environmental sculptures, and installation art created by the artist between 1989 and 2004. The Los Angeles County Museum of Art−LACMA will be temporarily relocating some of his works to the museum for the show Noah Purifoy: Junk Dada (June 2015−February 2016). This is a video on a remarkable man and his work in assemblage art. As it is in HD, please allow time to buffer.8Array ( [0] => https: [1] => [2] => [3] => 16468971 )


DSCN8874 - Copy
Monuj Kumar Sharma is an Assamese sculptor who is studying in the Sculpture Department of the Government College of Art and Craft in Guwahati. Born in 1988, this talented young artist has participated in a number of exhibitions already, among which are – the National Youth Festival Workshop in 2015 and in 2014, the Shree Manta Shankar Dev Kalakhetra group exhibition 2015, the Kochi-Muziris Biennale 2014, the Govt College of Art and Craft Exhibition 2013 and 2012.
Enterprising and proactive, this young sculptor tries to bring into play the large canvas of ideas in his fertile imagination. He is able to transform things he sees everyday into works of art that seems to communicate deeper significances to viewers.

Monuj is concerned with social issues and this interest is shown in his 32-piece chessboard sculpture. The figures are made of cement and fibre. Here the king is all powerful, and his ministers try all sorts of trickery to keep him in power and the people silent. This work is Monuj’s depiction of the dual nature of politics and the two-facedness of politicians.



Bengalis’ penchant for art, music and culture was on display in Houston as dance, music and literary discussions took centre stage at a convention in Houston that drew community members from Canada and India besides the US.

The opening ceremony featured a 45-minute spectacular fusion dance performance that told the story of Bengal through the music at the three-day North American Bengali Conference (NABC) which organised by the Tagore Society of Houston at sprawling George Brown Convention centre.

Over 140 events were organised for the conference which included an exhibition displaying Indian manufacturers products from jute to textiles, books, handicrafts, food products and especially jewelry.

The area was like a huge, well-laid out Bengali Bazaar, in the midst of which was a stage for performers and fashion shows, drawing a sizable crowd.

The conference kicked off with the business forum, “Houston 2025 and Beyond”, highlighting the future of energy.

An MOU was signed at a gala dinner between Mumbai Port and Port of Houston.

The convention also saw performances by sarod maestro Ustad Amjad Ali Khan and his sons – Amaan and Ayaan Ali Khan.

A dance performance by actress Tanusree and her troupe was a big hit.

Organisers presented ‘Bishwer Sera Bengali Puraskar’ (World’s Best Bengali awards) to Prabir Roy, one of the founding members of the Cultural Association of Bengal, as well as to actress Konkana Sen Sharma and singer Shreya Ghoshal, among others.

An exhibition of Tagore Paintings was another attraction at the convention.

The event ended with a two-and half hour mesmerizing concert by Ms Ghoshal, who kept an estimated 5,000-strong audience glued to their seats till midnight.


aged page Aged artwork 902657_Tall_Boy_with_7_Drawers_(Medium) cracking22
Ageing is a process by which an artwork, typically a painting or sculpture, is made to appear old. It is meant to emulate the natural deterioration that can occur over many decades or centuries.
Paintings deteriorate over time because they are created using essentially incompatible materials, with each having a different reaction to the changes in the environment, including light, temperature and relative humidity.
An oil painting consists of several layers, comprising the base canvas, a layer of gesso base coat, several layers of the oil based paint and then several coats of varnish to protect the paint surface. With many different materials, it is understandable that each layer may dry at different rates and will also absorb and release moisture at different rates. When this occurs, expansion and contraction of the painting will result in a crazing of the varnish surface. This pattern of small cracks is known as craquelure. Along with the darkening or yellowing of the varnish surface, it is this visual representation of the cracking that is typically the primary indicator of ageing.
The purpose for artificially ageing is to create a finished product that accurately reflects an era or is consistent with the environment (usually period) into which it is to be placed.

THE ART OF AGEING SHOWN IN SCULPTURE In another take on ageing as a process, we have for you a video that shows how the ageing process happens to a face. The model of a young face slowly transforms to an aged one. You can see how each added line and stroke heaps years on to the piece of sculpture.

look at street markets

For this section, Art in Everyday Life, we shall look at street markets. These are institutions we go to almost unthinkingly, and visits there are part of our everyday lives. But what we see there is a panoply of life, alongside the goods for sale, the livestock and fish, the heaped grains, the banter of friendly and familiar shopkeepers and stall holders. Whether it is covered municipal market or a roadside stall, these businesses are a sight that takes the breath away.


veggie market