Modern Impressionist

Modern Impressionist

The Neo Impressionists of Kasthamandap

The progression of art in the modern world went like this: 1800 to 1825-Neoclassicism, 1825 to 1850-Romanticism, 1850 to 1875-Realism, 1875 to 1900-Impressionism, 1900 to 1925-The New Century Styles such as Fauvism, Cubism and Abstract, and 1925 onwards-Contemporary, including Surrealism.

From 1800 to 1850, towering figures like David, Ingres, Goya, Delacroix, Constable, Turner and Bonnington ruled the roost. In the period 1850 to 1875, Manet and Courbet joined hands to challenge the old order with their novel approach which they termed as ‘Realism'.  In 1874, a young group of artists that included Renoir, Monet, Sisley, Cezanne, Degas, Brazille, Fantin-Letour and others organized their own exhibition representing a new style, ‘Impressionism'. The Impressionists stunned the established order by painting brokenly, loosely and disjointedly as well as by their apparent carelessness in choice of subjects. They were later joined by the likes of Pissaro, Gauguin, Van Gogh, Seurat, Whistler and Sargent, although these artists' school of art could be said to be Neoimpressionist in nature, also called Pointillists, Divisionists and Symbolists.

Ask the seven talented artists of ‘Kasthamandap Art Studio' in Kupondole, Lalitpur, about how they would describe their style, and they'll say, ‘Post Impressionism'. This would of course imply that a lot of their style is influenced by Impressionism. And why shouldn't it? After all, just looking at the roster of luminaries of the art world in the period 1850 to 1875, one can easily understand why this period in art history is so important and influences so many artists all over the world even today. ‘Kasthamandap Art Studio' and its seven members are no exception.

In fact one could even compare the seven artists with the original group of Impressionists at least as far as their origins are concerned. Take for example the fact that the seven claim to have worked underground in the first two years of establishing their studio. It would be no surprise to know that the young artists, all students of Fine Arts Campus, Kathmandu, must have come together with a view to changing the established order. Or why else would they say that they worked underground for two years in the beginning? It certainly wouldn't be far fetched to guess that the young artists were most probably heavily influenced by the history of the Impressionists.

Whatever the reason, it is a fact that in 1994, under the leadership of Prashant Shrestha, aged just 26 then but an accomplished artist nonetheless, eight artists came together to work in a communal environment in what they called, ‘Kasthamandap Art Studio'. On 30th March 1999, when he was just 31 years old, the dedicated mentor, Prashant, passed away suddenly. It was a tragic demise of a promising life still left unfulfilled, but as one sits with the present members of ‘Kasthamandap' in their studio, one hears his name mentioned often, and with reverence. One can see that Prashant's spirit lives on and one can be sure, will continue to do so. Today, ‘Kasthamandap Art Studio' is a name to be reckoned with in the art world of Nepal and its original seven founder members have each, individually, made a name for himself / herself.

Take Asha Dangol, aged 32, for example. Awarded the Arniko Yuwa Puraskar in 2003, his style has undergone a sea change from the time he painted ‘Folk Images of Nepal' (2002), held at the Siddartha Art Gallery, in which bold and colorful brushstrokes filled canvases with images of simple Nepali folks, and in which it is evident that Asha really enjoyed playing with a combination of effervescent colors, to his ‘Inside the Words' (2004) at the Gallery Moksh, in which semi abstract figures in pastel shades and apparently nonchalant strokes conjure up images that cheer the spirit with their bohemian spirit. His ‘Myth and Reality' is especially noteworthy.

Bhairaj Maharjan, another founder member, aged 33, recently this year, won the first prize in the Contemporary Art section in the prestigious National Art Exhibition (NAFA), with his ‘Lonely'. Bhairaj's work too has undergone subtle changes with the passing of years. His most recent exhibition titled, ‘Secret Moments' (2004), at Siddartha Art Gallery, exhibited young and sensual women preoccupied with themselves in their most private moments. Although Bhairaj had not changed his central theme, that is, women, this was a far cry from the more mundane women and their less gainly forms that filled his canvasses in years gone by. No doubt, the artist seems to be getting more familiar with, and thereby, more appreciative of his subject.

Binod Pradhan, 32, won the 2nd prize in the National Art Exhibition (NAFA) in 1997, and the 1st prize in the Ganeshman Singh Adhyayan Pratisthan competition in the same year. His latest solo exhibition titled, ‘The Solitude of Color' (2005), held at Siddartha Art Gallery, displayed cityscapes, temples and common folks occupied with daily chores in vibrant colors and textures that imparted an interesting effect. Binod's forte seems to be the cultural and architectural aspects of life in Nepal, and in bringing out such perspectives in an original way, using light and shade intelligently, and with masterful strokes and bold colors, one will have to admit that the young artist does excel.

Erina Tamrakar, 35, was married a year and a half ago to another Kasthmandap-ite, Asha Dangol, and today is the proud mother of a lovely daughter. Recipient of the consolation award in 1998 in the 28th National Art Exhibition, and the third prize in the 30th National Art Exhibition in 2000, Erina is well known now for her paintings of women, alone, and with child. ‘Reflection and Reality' at Gallery Nine, in 2004, was her most recent exhibition. Originally, more adhering towards the use of green and blue colors, (some say, an influence of Gauguin), Erina too has changed with time and now her lovely women with their subtle contours and veiled faces are more colorful in attire as well as form. Moreover, motherhood seems to have brought additional fervor to her creativity. She does still regard Gauguin as a favorite in addition to Cezanne.

Pradip Bajracharya, aged 34, won the 2nd prize in the 33rd National Art Exhibition in 2002. His recent solo exhibition titled, ‘Festive Images' (2005), at Buddha Art Gallery, had on exhibition canvases flooding with pulsating color portraying exciting images of various festivals of Kathmandu. His ‘Festive Moods' held in 2003 at Siddartha Art Gallery, also depicted lively images of Newari festivals, but it is apparent that Pradip, with time and experience, has become much bolder and surer in energizing festival portrayals with deeper and stronger shade and colors that not only provide more dynamism but also more vibrancy. Verily, Pradip Bajracharya paints festivals like no else does, and in his own inimitable style.

Pramila Bajracharya, 33, won a special prize in the National Art Exhibition (NAFA) this year and was the recipient of the Arniko Yuba Kala Puruskar in 2002. She had also won the consolation award in the 28th National Art Exhibition in 1998. Her first solo exhibition was held in 2002 at the Siddartha Art Gallery and was titled, ‘Images of Landscapes'. In 2004 she held her second solo exhibition, ‘Nature and Eternity' at the Park Gallery. She is undoubtedly more drawn towards landscapes, but her landscapes are original and abstract, if not totally avant-garde.  It is no surprise since Cezzane and Gauguin top the list of her favorite artists. One can assume correctly that even though Pramila is already an accomplished landscape artist, she has the potential and obviously, the commitment, to grow in stature as a true Neoimpressionist.

Sunila Bajracharya, aged 32, has had a solo exhibition in 2002 at the Srijana Contemporary Art Gallery that was titled, ‘Anubhuti'. Her works are usually ones that portray women's faces but she does it in her own unique way. Each of her paintings is characterized by the positive use of strong lines and brush strokes that are flamboyant yet give an air of simplicity to the canvas resulting in a certain innocent vivacity of the whole. The vividness is further strengthened by the use of robust colors and lively forms. Sunila too venerates the 19th century Neoimpressionists and no doubt, she herself is progressing towards her goal of achieving her own originality with the passing of the years.

And with the passage of time one can foresee that these seven Nepali Neo Impressionists cloistered under a common umbrella, that of ‘Kasthamandap Art Studio', and dedicated to keeping the spirit of their common mentor alive through their work, will be at the forefront of the art scene of the country in the days to come. Kasthamandap Art Studio is already famous as an entity, and equally, each of the seven artists have already begun their journey towards the fulfillment of their own individual potentials, in their own individual ways all the while retaining their own individual identities.

In conclusion it can be said that Kasthamandap Art Studio has already fulfilled its objective of proving that many different people can work together in a spirit of camaraderie, harmony and creativity. This must be all the more appreciated when it is well known that artists by their very nature are reputed to be a highly individualistic and temperamentally egoistic breed. This is why Kasthamandap Art Studio is so unique and, one could say, a rarity in today's world. At the same time one cannot but be a little wary that such conditions could have an effect on the natural search for originality in a highly creative field like art and one fervently hopes that the concerned artists are aware of this risk.

Howsoever Kasthamandap Art Studio progresses, all art lovers look forward to the talented seven delving deeper into their abilities and truly agonizing over their efforts so that creations are born that can compare with Impressionist works such as Monet's ‘Water Lilies', Renoir's ‘Nude in the Sunlight', Degas' ‘Dancer', Cezanne's ‘Landscape with Viaduct', Gogh's ‘Starry Nights', Gauguin's ‘la Orana Maria', and Seurat's ‘Sunday Afternoon on the Island of La Grande Jatte'. Paintings that echo artistic souls in ecstasy. And as everybody knows, ecstasy is only possible after agony.

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How is Charles Bauledaire's ideas of the modern is similar to an Impressionist painter's paintings like Manet?

As well as being in important poet Baudelaire was an influential art critic.
In his essay Le Peintre de la vie moderne, he exhorts the modern painter to utilize the following concepts in creating his/her works of art:

The painter of modern life extracts, from his observation of modern fashion and events, whatever elements they may contain of poetry within history. In other words, the artist distills the eternal from the transitory.

The artist should be a flaneur, i.e., a passionate spectator of modern life. The flaneur is at his best in an urban crowd. The modern artist finds inspiration amid the ebb and flow of people moving within the city attending to their daily tasks, in the midst of both the fugitive and the infinite.

The artist flaneur is able to draw shock and intoxication through association with the crowd. Baudelaire seems to place this shock experience at the very center of his artistic work. The flaneur is jostled, pushed and shoved by the seething urban crowd and is bombarded by a plethora of stimuli that cannot be completely assimilated. Accordingly, the flaneur must remain alert, vigilant and constantly on guard lest he experience psychological disintegration and loss of coherence.

The artist flaneur is both an idler and a passionate observer. The perfect idler and passionate observer finds immense enjoyment from dwelling in the throng, in the ebb and flow, the bustle, the fleeting and the infinite.

The hero of modern life is someone who practices the tenants of modern capitalism, but is simultaneously engaged in an inevitably doomed struggle against them. For Baudelaire, this hero is one who experiences the paradoxes and illusions of modern life, but who also participates and give form to these fragmented, fleeting experiences of the modern. Examples of modern heroes are: the poet, the flaneur, the dandy, the collector, the gambler, the worker, the rag-picker and the prostitute.

The city may be considered as a duality. The modern city is both bestial and beautiful, but it has become the essential source of inspiration for the modern artist and poet.

These ideas were inluential on the Impressionists, particularly Manet, who was encouraged by Baudelaire to base his art on the modern, urban world.

From;

http://en.wikipedia.org/wiki/Charles_Baudelaire

"Manet and Baudelaire became constant companions from around 1855. In the early 1860s, Baudelaire accompanied Manet on daily sketching trips and often met him socially. He also lent Baudelaire money and looked after his affairs, particularly when Baudelaire went to Belgium. Baudelaire encouraged Manet to strike his own path and not succumb to criticism. "Manet has great talent, a talent which will stand the test of time. But he has a weak character. He seems to me crushed and stunned by shock". In his painting Music in the Tuileries, Manet includes portraits of his friends Théophile Gautier, Jacques Offenbach, and Baudelaire. While it's difficult to differentiate who influenced whom, both Manet and Baudelaire discussed and expressed some common themes through their respective arts. Baudelaire praised the modernity of Manet's subject matter: "almost all our originality comes from the stamp that 'time' imprints upon our feelings". When Manet's famous Olympia (1865), a portrait of a nude prostitute, provoked a scandal for its blatant realism mixed with an imitation of Renaissance motifs, Baudelaire worked privately to support his friend, though he offered no public defense (he was, however, ill at the time). When Baudelaire returned from Belgium after his stroke, Manet and his wife were frequent visitors at the nursing home and she would play passages from Wagner for Baudelaire on the piano."

Impressionist & Modern Art Evening Sale, New York, 3 May 2011