BIOGRAPHY - D.J. Joshi
Birth: 7th July, 1911, Maheshwar, India.
Demise: 24th March, 1984, Indore, India.
CAREER HIGHLIGHTS
1928
Studied arts under D.D. Deolalikar along with N.S. Bendre, M.S. Joshi, M.F. Husain, Solegaokar at the Chitrakala Mandir, Indore, India.
............................
1933
G.D. Arts from Sir J.J School of Arts, Bombay.
............................
1981
Awarded the highest recognition in Fine Arts - Shikhar Samman - instituted in that year itself by the Madhya Pradesh Government – at the hands of erstwhile Prime Minister of India, late Mrs. Indira Gandhi.
............................
1979
Biography published in 'Men of Achievement' by International Biographical Centre, Cambridge, England.1979, Volume Six .
............................
1978
Awarded Ph.D. by Government Fine Arts College, Indore.
............................
1979
A felicitation program and exhibition at Bhopal, called 'Prasang' (The Context) organized in presence of N.S. Bendre; S.H. Raza and others, in recognition of his lifetime contribution to art. Sixty-three of his paintings exhibited.
............................
1965
Represented India in the 8th Bienale, Sao Paulo, Brazil.
...........................
Participated in Artist Aid Fund Exhibition, Switzerland.
...........................
1949-1950
Paintings published by on the cover pages of the magazine 'The Illustrated Weekly of India' in editions of 1949; 1950 and more.
............................
Documentary film made by the Films Division, Government of India, featuring his demonstration at Bhopal.
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A WORD ABOUT HIM
Master Painter and Sculptor, regarded as one of the most prolific artists of impressionism and post-impressionism of India. Initially inspired by the western impressionism, he painted in his own hallmark style, mainly the landscapes of Kashmir; Himalayas; Rajasthan; Madhya Pradesh; Uttar Pradesh; Bombay’s seashore and its fisher folks; Banks of River Ganges and Narmada and portrayed tribal, rural and city life of India, mainly the Malwa region.
His technique was absolutely singular and quite distinctive as regards the color, composition and context.
The landscapes and even the portraiture of people are most authentic that is why they seem like telling the story of a particular moment of time.
These landscapes / cityscapes are not just brilliant impressionistic representation of the non-living things like rivers; mountains; vistas etc. but also–almost without an exception-depicts the various activities of life of the folks inhabiting that particular place, in its full trueness. For instance, an ambiance of anxiety while a wood-seller waits for her lot to be sold; calm atmosphere while laborers taking a mid day rest; or a mood of joy and ecstasy surrounding a tribal dance during their festival.
Apart from this, his spontaneity and sensitiveness towards the subject are especially noteworthy and are clearly evident in his work.
Another special about him is the detail contained in his paintings and sketches. And this one can find invariably, regardless of the size of the work.
He was an ardent experimentalist and has done paintings in various different techniques, be it the types of brush strokes; color scheme or the medium itself.
Size, medium etc. did not matter him as he has painted work as large as 8 feet by 48 feet and 6 inches by 4 inches work with equal integrity and devotion. As regards medium, he has used every type of them including oil, watercolor, pastels, and ink over canvas, paper, board, paperboard, plywood etc.
As Mr. D.J. Pinto rightly said in his article of the Illustrated Weekly of India, 17th April, 1949,
“Whenever there would be a better understanding of the India’s expanse and diversity, it would be because of the art of artists like D.J. Joshi”.
‘Teachers; Patrons; colleagues; collectors; critics; writers etc. mentioned in this biography include D.D. Deolalikar, Dada Phadke, Emmanuel Schlesinger, Walter Langhammer, Hermann Goetz, N.S. Bendre, M.S. Joshi, M.F. Husain, Solegaokar, S.H. Raza, Dnyaneshwar Nadkarni, Pt. Kumar Gandharva, Birlas, Lady Ranu Mukherjee, Princess Usha Raje Holkar, K.F. Rustomjee, Maithilisharan Gupt, Mr. Rogers, Mr. Hoff, P.R. Ramachandra Rao, D.J. Pinto, Rai Krishnadasa, Pran Nath Mago, Yashodhara Dalmia, Dr. Rameshchandra Shah, Rahul Barpute, Padma Shastri et al.
QUOTES
1]
…he is an impressionist as whatever attracts his artistic vision and which he is inspired to put on the canvas, is such an ambience of light and colors which emerges from a particular moment or specific view of day or night. He has a great sense of composition. He turns composite details into a sensible entirety.
Unlike some casual impressionists he never forgets the internal unity of the subject… Whenever there would be a better understanding of the India’s expanse and diversity, it would be because of the art of artists like D.J. Joshi…
-D.J. Pinto, Illustrated Weekly of India, 17th April, 1949
[Translated from Shikhar Samman Catalogue]
............................
2]
…Deokrishna Joshi, a number of whose paintings we reproduced in color in ”The Illustrated Weekly of India” some years ago, was born at Maheshwar on the banks of the Narbada and brought up at Indore, and has lived and worked most of his life in Madhya Bharat.
Its temples and forts, its great river, the Narbada, the mountain chain of Vindhyas north of it and the fertile region of Malwa beyond, a battleground for hundreds of years between North and South, have given it a composite quality which is distinctive. In Joshi’s work this quality becomes extraordinarily articulate, and his entire output is informed and colored by it.
To call him the ‘Painter Laureate’ of Madhya Bharat is to give an apt and felicitous recognition to an achievement as many-sided as the region where he has spent the best years of his life.
But though his work derives from the part of the country he knows best, it accepts no limiting conditions from the circumstance.
It avoids both the mannered preoccupation with genre painting and traditionalism.
Joshi is a lover of light and color, and gives to their startling variations of tone and perspective, a most individual turn.
-from ‘The Art of D.J. Joshi’
The Illustrated Weekly of India, 29th June, 1952
............................
3]
…Deokrishna Joshi is a brilliant draughtsman, with a faculty for chromatic orchestration; he is the artist of Central Indian panorama, of the Malwa country and the Narbada hurtling across the Vindhya ranges past dotted temples and forts and townships. Despite his faithful renderings of the shrines of Maheshwar and fastness of Mandu, Joshi is more than just an illustrative painter; his form seeking mind invests his urgent sense perceptions with structural substance. He catches the fleeting inflexions of air and light, fusing them in vivid patterns; these derive from his environmental color and gaiety – picturesque women at the well or by the river, ‘Vegetable Sellers’ (Plate133), a hay cart ‘Homeward Bound’ (Plate 134), boats at anchor, or teeming market places…
-from ‘Modern Indian Paintings’, P.R. Ramachandra Rao,1953.
............................
4]
…The leaders of Impressionist painting are N.S. Bendre, Kalyan Sen, D.J. Joshi, Kanwal Krishna, K.C.S. Panicker…
-from ‘India, Five Thousand Years of Indian Art’, Hermann Goetz,1959.
............................
5]
…indeed these sketches are the main attractions of the exhibition depicting the Khati life. These are excellent and remarkable works on tribal and rural life. His group compositions are remarkable as regards the context. They are testimony of his authority over lines…
-Indian Express, 27th August, 1978.
[Translated from Shikhar Samman Catalogue]
............................
6]
…The Bombay artists of the early decades of the century were considered to be proficient both in portraiture and genre painting…
Artists from Indore like D.J. Joshi, D.D. Deolalikar and N.S. Bendre were also influenced by the contemporary styles prevalent in Bombay. However, Mali, Bendre, Joshi and some others broke away from the academic mannerism and style and took to individual impressions of color executed in a broad manner rather than in realistic representation…
-from ‘Contemporary Art in India, A Perspective’, Pran Nath Mago, National Book Trust,2000.
….........................
7]
…Top Honors in the Oil Section went to Mr. D.J. Joshi and Mr. M.F. Husain. The first represents the traditional Impressionist School at its best; the second leads the modern school. Mr. Joshi brought a set of four large paintings of which two are landscapes, one a figure composition and one a Moharram scene.
The Udaipur painting is a proud achievement with its brilliant scintillating colors set against the blue of the lake…
-from ‘The Making of Indian Art - the Progressives’, Yashodhara Dalmia, Oxford University Press,2001. [Quoted from The Times of India, 1952]
............................
8]
…After a session of discussion the selection committee arrived on the conclusion that it would be appropriate to bestow this award [Shikhar Samman] on Mr. D.J. Joshi. Mr. Joshi has kept intimate relationships with nature and people and his works give pleasurable and rich experience to the viewers. Despite his modern artistic vision he has kept his efforts associated with his native Malwa soil, known to him naturally. From inside, he has been revolting any lures which would take him away from the experiences of life and the density of his vision. His art makes us feel the participation of the life surrounding us. Mr. Joshi has spent seventy years in Madhya Pradesh and apart from being an artist he has nurtured a grand tradition as a ‘Kala Guru’ [Art teacher]…
…The selection committee recommends that this award be given to Mr. Deokrishna Jatashankar Joshi.
Dnyaneshwar Nadkarni Dr. Rameshchandra Shah
Art Critic Writer
[Translated from the Selection Committee Report - Shikhar Samman]
............................
9]
…it is a pure delight to watch him paint as he would pick up one color intuitively and go on making its different shades so naturally that it would create a rhythm of colors which would mesmerize the viewers. In this, despite being close to the impressionist school, his work is different from impressionism. And despite playing with colors he never surrenders himself to the colors…
-N.S. Bendre
[Translated from Shikhar Samman Catalogue]
............................
10]
…the technique of Joshi to etch out paintings out of light colors is a very difficult thing to achieve. Even contrasts are produced with lighter shades.
-M.F. Husain
[Quoted by N.S. Bendre, Translated from Shikhar Samman Catalogue]
............................
11]
…When Pt. Nehru reached the Modern Art section of Kala Bhavan, your ‘Triveni’ painting impressed him quite a bit. He said that though I dislike Modern Art but this painting is very nice…
-from the letter of Rai Krishnadasa
[Translated from Shikhar Samman Catalogue]
............................
12]
One among the greatest artists of the country... Still incomparable in landscapes…his technique absolutely singular… distinctiveness in color, composition and context.
-Rahul Barpute
[Translated from Shikhar Samman Catalogue]
............................
13]
…His paintings on fairs, folk dances, festivals, temples, forts, Narmada, Vindhya mountain range and fertile region of Malwa give them a distinctive, composite quality, which is extraordinarily articulate. Though he picked up spots from the regions he knew best, they easily transcend geographical boundaries when painted. Despite modern they have not lost touch with nativity…A lover of color and light, his paintings reflect startling variations of tone and perspective, where he unfolded anatomy of nature and created dimensions that were minute and grand simultaneously…But despite his hallmark style, his work differs from the impressionist style of painting.
His paintings reflect unforeseen depth and create picturesque effects leaving people to evoke their choice of emotional reactions. The style is itself passionate rather than sentimental…In fact the use of soft tonalities and atmospheric effects make it difficult to trace the point from where he broke the surface for painting…Joshi’s shy nature made him avoid publicity...
-Padma Shastri, Hindustan Times, 1st Feb. 2004.
............................
PUBLICATIONS
1] Catalogue – Volume I, National Gallery of Modern Art, New Delhi.
2] Biography in 'Men of Achievement' - Published by International Biographical Centre, Volume Six, 1979, Cambridge, England.
3] Modern Indian Paintings - by P.R. Ramachandra Rao, 1953, Madras.
4] India, Five thousand years of Indian Art - by Hermann Goetz, 1959, Baden, Germany.
5] The Making of Indian Art - the Progressives - by Yashodhara Dalmia, Oxford University Press, 2000, New Delhi.
6] Contemporary Art in India, A Perspective - by Pran Nath Mago, National Book Trust, 2000, New Delhi.
7] Lalit Kala Akademi Publications, New Delhi.
8] Contemporary Artists, Madras.
9] The Times of India, Bombay.
10] Modern Review, Calcutta.
11) 2500th Buddha Centenary Souvenir, 1956.
12] Purvagraha - Art Magazine, various editions, Bhopal.
13) Swadesh – Newspaper, Indore.
14] Kalavarta - Art Magazine.
15] Dinman - Magazine.
16] The Illustrated Weekly of India - Weekly Magazine, 1949; 1950, Bombay.
17] Roopa-lekha – All India Fine Arts and Crafts Society (AIFACS) publication, various editions, New Delhi.
18] Saraswati – Magazine, Allahabad.
19] Vakil & Sons, Bombay.
20] Hindustan Times, Newspaper, Indore.
21] Naidunia, Newspaper, Indore.
22] Dainik Bhaskar, Newspaper, Indore.
23] Indian Express, Newspaper, Bombay.
24] Financial Express, Newspaper, Bombay.
25] Free Press Journal.
His technique was absolutely singular and quite distinctive as regards the color, composition and context.
The landscapes and even the portraiture of people are most authentic that is why they seem like telling the story of a particular moment of time.
These landscapes / cityscapes are not just brilliant impressionistic representation of the non-living things like rivers; mountains; vistas etc. but also–almost without an exception-depicts the various activities of life of the folks inhabiting that particular place, in its full trueness. For instance, an ambiance of anxiety while a wood-seller waits for her lot to be sold; calm atmosphere while laborers taking a mid day rest; or a mood of joy and ecstasy surrounding a tribal dance during their festival.
Apart from this, his spontaneity and sensitiveness towards the subject are especially noteworthy and are clearly evident in his work.
Another special about him is the detail contained in his paintings and sketches. And this one can find invariably, regardless of the size of the work.
He was an ardent experimentalist and has done paintings in various different techniques, be it the types of brush strokes; color scheme or the medium itself.
Size, medium etc. did not matter him as he has painted work as large as 8 feet by 48 feet and 6 inches by 4 inches work with equal integrity and devotion. As regards medium, he has used every type of them including oil, watercolor, pastels, and ink over canvas, paper, board, paperboard, plywood etc.
As Mr. D.J. Pinto rightly said in his article of the Illustrated Weekly of India, 17th April, 1949,
“Whenever there would be a better understanding of the India’s expanse and diversity, it would be because of the art of artists like D.J. Joshi”.
‘Teachers; Patrons; colleagues; collectors; critics; writers etc. mentioned in this biography include D.D. Deolalikar, Dada Phadke, Emmanuel Schlesinger, Walter Langhammer, Hermann Goetz, N.S. Bendre, M.S. Joshi, M.F. Husain, Solegaokar, S.H. Raza, Dnyaneshwar Nadkarni, Pt. Kumar Gandharva, Birlas, Lady Ranu Mukherjee, Princess Usha Raje Holkar, K.F. Rustomjee, Maithilisharan Gupt, Mr. Rogers, Mr. Hoff, P.R. Ramachandra Rao, D.J. Pinto, Rai Krishnadasa, Pran Nath Mago, Yashodhara Dalmia, Dr. Rameshchandra Shah, Rahul Barpute, Padma Shastri et al.
QUOTES
1]
…he is an impressionist as whatever attracts his artistic vision and which he is inspired to put on the canvas, is such an ambience of light and colors which emerges from a particular moment or specific view of day or night. He has a great sense of composition. He turns composite details into a sensible entirety.
Unlike some casual impressionists he never forgets the internal unity of the subject… Whenever there would be a better understanding of the India’s expanse and diversity, it would be because of the art of artists like D.J. Joshi…
-D.J. Pinto, Illustrated Weekly of India, 17th April, 1949
[Translated from Shikhar Samman Catalogue]
............................
2]
…Deokrishna Joshi, a number of whose paintings we reproduced in color in ”The Illustrated Weekly of India” some years ago, was born at Maheshwar on the banks of the Narbada and brought up at Indore, and has lived and worked most of his life in Madhya Bharat.
Its temples and forts, its great river, the Narbada, the mountain chain of Vindhyas north of it and the fertile region of Malwa beyond, a battleground for hundreds of years between North and South, have given it a composite quality which is distinctive. In Joshi’s work this quality becomes extraordinarily articulate, and his entire output is informed and colored by it.
To call him the ‘Painter Laureate’ of Madhya Bharat is to give an apt and felicitous recognition to an achievement as many-sided as the region where he has spent the best years of his life.
But though his work derives from the part of the country he knows best, it accepts no limiting conditions from the circumstance.
It avoids both the mannered preoccupation with genre painting and traditionalism.
Joshi is a lover of light and color, and gives to their startling variations of tone and perspective, a most individual turn.
-from ‘The Art of D.J. Joshi’
The Illustrated Weekly of India, 29th June, 1952
............................
3]
…Deokrishna Joshi is a brilliant draughtsman, with a faculty for chromatic orchestration; he is the artist of Central Indian panorama, of the Malwa country and the Narbada hurtling across the Vindhya ranges past dotted temples and forts and townships. Despite his faithful renderings of the shrines of Maheshwar and fastness of Mandu, Joshi is more than just an illustrative painter; his form seeking mind invests his urgent sense perceptions with structural substance. He catches the fleeting inflexions of air and light, fusing them in vivid patterns; these derive from his environmental color and gaiety – picturesque women at the well or by the river, ‘Vegetable Sellers’ (Plate133), a hay cart ‘Homeward Bound’ (Plate 134), boats at anchor, or teeming market places…
-from ‘Modern Indian Paintings’, P.R. Ramachandra Rao,1953.
............................
4]
…The leaders of Impressionist painting are N.S. Bendre, Kalyan Sen, D.J. Joshi, Kanwal Krishna, K.C.S. Panicker…
-from ‘India, Five Thousand Years of Indian Art’, Hermann Goetz,1959.
............................
5]
…indeed these sketches are the main attractions of the exhibition depicting the Khati life. These are excellent and remarkable works on tribal and rural life. His group compositions are remarkable as regards the context. They are testimony of his authority over lines…
-Indian Express, 27th August, 1978.
[Translated from Shikhar Samman Catalogue]
............................
6]
…The Bombay artists of the early decades of the century were considered to be proficient both in portraiture and genre painting…
Artists from Indore like D.J. Joshi, D.D. Deolalikar and N.S. Bendre were also influenced by the contemporary styles prevalent in Bombay. However, Mali, Bendre, Joshi and some others broke away from the academic mannerism and style and took to individual impressions of color executed in a broad manner rather than in realistic representation…
-from ‘Contemporary Art in India, A Perspective’, Pran Nath Mago, National Book Trust,2000.
….........................
7]
…Top Honors in the Oil Section went to Mr. D.J. Joshi and Mr. M.F. Husain. The first represents the traditional Impressionist School at its best; the second leads the modern school. Mr. Joshi brought a set of four large paintings of which two are landscapes, one a figure composition and one a Moharram scene.
The Udaipur painting is a proud achievement with its brilliant scintillating colors set against the blue of the lake…
-from ‘The Making of Indian Art - the Progressives’, Yashodhara Dalmia, Oxford University Press,2001. [Quoted from The Times of India, 1952]
............................
8]
…After a session of discussion the selection committee arrived on the conclusion that it would be appropriate to bestow this award [Shikhar Samman] on Mr. D.J. Joshi. Mr. Joshi has kept intimate relationships with nature and people and his works give pleasurable and rich experience to the viewers. Despite his modern artistic vision he has kept his efforts associated with his native Malwa soil, known to him naturally. From inside, he has been revolting any lures which would take him away from the experiences of life and the density of his vision. His art makes us feel the participation of the life surrounding us. Mr. Joshi has spent seventy years in Madhya Pradesh and apart from being an artist he has nurtured a grand tradition as a ‘Kala Guru’ [Art teacher]…
…The selection committee recommends that this award be given to Mr. Deokrishna Jatashankar Joshi.
Dnyaneshwar Nadkarni Dr. Rameshchandra Shah
Art Critic Writer
[Translated from the Selection Committee Report - Shikhar Samman]
............................
9]
…it is a pure delight to watch him paint as he would pick up one color intuitively and go on making its different shades so naturally that it would create a rhythm of colors which would mesmerize the viewers. In this, despite being close to the impressionist school, his work is different from impressionism. And despite playing with colors he never surrenders himself to the colors…
-N.S. Bendre
[Translated from Shikhar Samman Catalogue]
............................
10]
…the technique of Joshi to etch out paintings out of light colors is a very difficult thing to achieve. Even contrasts are produced with lighter shades.
-M.F. Husain
[Quoted by N.S. Bendre, Translated from Shikhar Samman Catalogue]
............................
11]
…When Pt. Nehru reached the Modern Art section of Kala Bhavan, your ‘Triveni’ painting impressed him quite a bit. He said that though I dislike Modern Art but this painting is very nice…
-from the letter of Rai Krishnadasa
[Translated from Shikhar Samman Catalogue]
............................
12]
One among the greatest artists of the country... Still incomparable in landscapes…his technique absolutely singular… distinctiveness in color, composition and context.
-Rahul Barpute
[Translated from Shikhar Samman Catalogue]
............................
13]
…His paintings on fairs, folk dances, festivals, temples, forts, Narmada, Vindhya mountain range and fertile region of Malwa give them a distinctive, composite quality, which is extraordinarily articulate. Though he picked up spots from the regions he knew best, they easily transcend geographical boundaries when painted. Despite modern they have not lost touch with nativity…A lover of color and light, his paintings reflect startling variations of tone and perspective, where he unfolded anatomy of nature and created dimensions that were minute and grand simultaneously…But despite his hallmark style, his work differs from the impressionist style of painting.
His paintings reflect unforeseen depth and create picturesque effects leaving people to evoke their choice of emotional reactions. The style is itself passionate rather than sentimental…In fact the use of soft tonalities and atmospheric effects make it difficult to trace the point from where he broke the surface for painting…Joshi’s shy nature made him avoid publicity...
-Padma Shastri, Hindustan Times, 1st Feb. 2004.
............................
PUBLICATIONS
1] Catalogue – Volume I, National Gallery of Modern Art, New Delhi.
2] Biography in 'Men of Achievement' - Published by International Biographical Centre, Volume Six, 1979, Cambridge, England.
3] Modern Indian Paintings - by P.R. Ramachandra Rao, 1953, Madras.
4] India, Five thousand years of Indian Art - by Hermann Goetz, 1959, Baden, Germany.
5] The Making of Indian Art - the Progressives - by Yashodhara Dalmia, Oxford University Press, 2000, New Delhi.
6] Contemporary Art in India, A Perspective - by Pran Nath Mago, National Book Trust, 2000, New Delhi.
7] Lalit Kala Akademi Publications, New Delhi.
8] Contemporary Artists, Madras.
9] The Times of India, Bombay.
10] Modern Review, Calcutta.
11) 2500th Buddha Centenary Souvenir, 1956.
12] Purvagraha - Art Magazine, various editions, Bhopal.
13) Swadesh – Newspaper, Indore.
14] Kalavarta - Art Magazine.
15] Dinman - Magazine.
16] The Illustrated Weekly of India - Weekly Magazine, 1949; 1950, Bombay.
17] Roopa-lekha – All India Fine Arts and Crafts Society (AIFACS) publication, various editions, New Delhi.
18] Saraswati – Magazine, Allahabad.
19] Vakil & Sons, Bombay.
20] Hindustan Times, Newspaper, Indore.
21] Naidunia, Newspaper, Indore.
22] Dainik Bhaskar, Newspaper, Indore.
23] Indian Express, Newspaper, Bombay.
24] Financial Express, Newspaper, Bombay.
25] Free Press Journal.
EDUCATION
1928
Studied arts under D.D. Deolalikar along with N.S. Bendre, M.S. Joshi, M.F. Husain, Solegaokar at the Chitrakala Mandir (later Govrenment Fine Arts College), Indore, India.
1933
G.D.Arts - Sir J.J. School of Arts, Bombay.
1937
Studied sculpture under Dada Phadke of Dhar for 2 years.
(Admitted directly in the 4th year of sculpture in Sir J.J. School of Arts, Bombay and was declared 1st in the examination.)
1978
Ph.D., Government Fine Arts College, Indore.
POSITIONS HELD
1939-52
Founder Principal, Dhar Arts College, Dhar.
1952-1967
Principal: Government Fine Arts College, Indore.
MEMBERSHIPS
1) Appointed Member of General Council in the founding year 1954-55 of Lalit Kala Akademi (Fine Arts Academy), New Delhi.
2) Life Member - Bombay Art Society, Bombay.
3) Life Member - M.P. Kala Parishad, Bhopal.
AWARDS
GOLD MEDALS / BEST EXHIBITS
1931
1st Prize for painting titled 'Composition' in 3rd year of studies in Sir J.J. School of Arts, Bombay.
1932
1st Prize for painting titled 'Life' in 4th year of studies in Sir J.J. School of Arts, Bombay.
1935
President of India’s Silver Plaque by All India Fine Arts and Crafts Society (AIFACS), New Delhi for-
'Lal Pagdi' (Red Turban).
1944
Two Awards in Central India Exhibition, Indore-
1) Best Exhibit for 'Beggar'.
2) 'Udaipur' (Udaipur city).
1944
Best Composition Award by Bombay Art Society, Bombay for-
'The Weekly Market', Oil on canvas, 48inx36in.
1945
Gold Medal (Best Oil Painting) by Bombay Art Society, Bombay for-
'Bhikhari' (Beggar), Oil on canvas, 48in x 48in.
(In private collection of Industrialist Birla’s Bombay residence)
1947
1) H.E. the Governor's Gold Medal by Bombay Art Society, Bombay for-
'Baskets', Oil on canvas, 24in x 24in.
2) Awarded for-
'Dhar Ki Ek Gali' (A Street of Dhar), Oil on canvas, 24in x 24in.
1949
Three awards in the 3rd Exhibition of South India Society of Painters, Egmore, Madras (Chennai)-
1) Best Exhibit - H.E. the Governor's Trophy for-
'Boats', Oil on canvas, 30in x 24in.
2) Commendation award for-
'Gauri Festival' and 'Bride Buying Bangles'
1950
Gold Medal in Fine Arts and Crafts Exhibition, Shimla for-
'At The Well'
1951
Gold Medal by Madhya Bharat Government, Bhopal for-
'Sculpture'
1951
Best Composition Award by Bombay Art Society, Bombay for-
'Boats', Oil on canvas.
1953
Gold Medal by Academy of Fine Arts, Amritsar for-
'At the Well', Water color, 22in x 20in.
1953
Gold Medal (Best oil painting) by Government of Punjab for-
'Omkareshwar'.
1954
Gold Medal at Trivendrum for-
'Festival'.
1955
H.E. Governor’s Gold Medal (Best Exhibit) - Academy of Fine Arts, Calcutta for-
'Pichola Lake'. Oil on canvas, 36in x 24in.
1959
Distinguished Gold Medal at the hands of Pt. Jawaharlal Nehru in All India Kalidasa Exhibition, Ujjain for-
'Shakuntala'.
OTHER AWARDS
1932
Awarded at Indore for-
'Clay Modeling'
1935
Four Awards by Madras Fine Arts Society, Madras (Chennai) for-
1) 'Khargone', Oil on canvas.
2) 'Mandleshwar', Oil on canvas.
3) 'Tokriyan Banaane Wale' (Basket Makers), Oil on canvas.
4) 'Bhoori Aakhon Wala Ladka' (A boy with grey eyes), Oil on canvas.
1936-37
Silver Medal in Uttar Pradesh Industrial & Agriculture Exhibition for - 'Clay Modeling'.
1939
2 Awards in Annual Exhibition of the Bombay Art Society, Bombay for-
1)'Dhar Street' (A Street of Dhar City).Watercolor.
2)'Bartan Bazaar' (Utensils Market).Watercolor.
1943
2 Consolation prizes by Bombay Art Society, Bombay for
1) 'Kahan Jayein' (Where to Go?), Oil on canvas, 20inx12in.
2) 'Kya Karein'(What to Do?), Oil on canvas. 20inx12in.
1943
Cash Reward by Maharaja Gaikwad of Baroda.
1944
Cash Reward by Maharaja Gaikwad of Baroda.
1946
Awarded by Bombay Art Society, Bombay for-
'Jalmahal-Udaipur' (Water Palace of Udaipur city)
1946
Awarded by School of Art Society, Nagpur for-
'Mandleshwar mein Narmada' (River Narmada in Mandleshwar)
1948
Two awards by School of Art Society, Nagpur.
1950
Scholarship awarded by Academy of Fine Arts, Calcutta for-
'Boats'
1950
The Times of India Award by Bombay Art Society, Bombay for-
'A Bride Buying Bangles'
1952
Excellence Award by Bombay Art Society, Bombay.
1952
Silver Medal by Academy of Fine Arts, Amritsar for-
'Moharram', Oil on canvas.
1954
Commended by Bombay Art Society, Bombay for-
'The rural life of Malwa region' and
'Jahaz Mahal' (Ship-Palace).
1955
Awarded by Bombay Art Society, Bombay for-
'Chowpatty' (Chowpatty Beach, Bombay)
1955
Awarded in the 1st National Exhibition, Lalit Kala Akademi, New Delhi for-
'A Sketch', Oil on canvas, 36 in x 48 in.
(Now in collection of National Gallery of Modern Art)
1955
Patel Silver Trophy and Reward by The Art Society of India for-
'Vijeta' (The Winner).
EXHIBITIONS
1947
Solo Exhibition, Bombay.
1949
Solo Exhibition, Bombay.
Exhibition inaugurated by Walter Langhammer.
1951
Solo Exhibition, Bombay.
1960
Exhibition with Shrenik Jain by Bombay Art Society, Bombay.
1965
Five paintings exhibited in the VIII Biennale Exhibition, 1965, Sao Paulo, Brazil.
Participated in Artist Aid Fund Exhibition, Switzerland.
1967
Two Exhibitions at his own Art Gallery inaugurated by H.E. Princess Usha Raje Holkar at Indore.
1975
Felicitation and exhibition by the 'Madhya Pradesh Kala Parishad' in their event called 'Utsav' at Bhopal.
1977
A felicitation event and exhibition called 'Prasang' (The Context) organized in presence of N.S. Bendre, S.H. Raza and others, in recognition of his lifetime contribution to art. Sixty-three of his paintings exhibited at Bhopal.
1979
Solo Exhibition, Bombay Art Society, Bombay.
1981
Solo Exhibition, 'Utsav' organized by M.P. Kala Parishad at Raipur.
1982
Exhibition of paintings focusing on river Narmada on occasion of 'Madhya Pradesh Utsav' at New Delhi.
1983
Solo Exhibition on occasion of his birthday by Rituphalak, Indore.
1984
Solo Exhibition on occasion of his birthday by Art Commune, Indore and Analya Arts, Gwalior.
1985
A Retrospective Exhibition on his works organized by M.P. Kala Parishad, after his demise.
FELICITATIONS / HONOURS
1961
Felicitated by the national poet of India, Maithilisharan Gupt, on the occasion of the centenary celebrations of the Saraswati magazine.
1975
Felicitated by the Madhya Pradesh Kala Parishad in their event called 'Utsav' at Bhopal.
1977
A felicitation program and exhibition called 'Prasang' (The Context) organized in presence of N.S. Bendre; S.H. Raza and others, in recognition of his lifetime contribution to art. Sixty-three of his paintings exhibited at Bhopal.
1981
Awarded the highest recognition in fine arts-the 'Shikhar Samman'-instituted in that year itself-by the Government of Madhya Pradesh at the hands of erstwhile Prime Minister of India, late Mrs. Indira Gandhi.
1982-83
Fellowship awarded by Government of India.
1983-84
Fellowship awarded by Government of India.
COLLECTIONS
Apart from various private and public collections in India, U.S.A., Russia, Canada, Japan, Switzerland etc. following are the known collections-
1) Rashtrapati Bhavan-Residence of H.E. the President of India, New Delhi -'Prasadhan' (Toilet).
2) National Gallery of Modern Art.
3) Emmanuel Schlesingers’ Collection, Bombay (Mumbai).
4) Air India, Bombay (Mumbai).
5) Defence Academy, New Delhi.
6) Mr. Rogers.
7) Mr. Hoff.
8) Lady Ranu Mukherjee, Calcutta.
9) Pilani Museum.
10) Industrialist Birla's Residence, Bombay (Mumbai).
11) Nimker Collection, Lonavala.
12) Ciba Pharmacy, Bombay (Mumbai), 'Fasal Kataai' (The Harvest).
13) Princess Usha Raje Holkar, Bombay (Mumbai) & Indore.
14) Ex - Home Secretary L.P. Singh, New Delhi-'Bhoot' (The Ghost).
15) Kala Niketan, Jabalpur, 'Maheshwar'.
16) Bharat Bhavan, Bhopal.
17) Border Security Force Headquarters, New Delhi.
18) Kala Vithika, Gwalior.
19) Rai Krishnadasa, Varanasi, 'Triveni Sangam' (The three rivers meeting).
20) Arts and Commerce College, Indore- 'Rabindranath Tagore'.
21) Department of Information Government of Madhya Pradesh, India-'Gehu Ki Kheti' (Wheat harvesting).
22) College of Combat, Mhow.
23) Mahatma Gandhi Memorial Medical College, Indore, 'Mahatma Gandhi'.
24) Lalbagh Palace, Indore.
25) Border Security Force, Tekanpur, Gwalior.
26) Government Fine Art College, Indore.
27) Police Training Centre, Sagar, -'Rahul'; 'Dahej'(Dowry) and 'Maheshwar'.
28) K.F. Rustomji, Indian Police Service.
29) Saraswati Press, Allahabad, -'Dr. Rajendra Prasad'.
SCULPTURES
1) Jawaharlal Nehru, Bust, Marble, Barwani.
2) Indira Gandhi, Bust, Cement.
3) Mahatma Gandhi, Bust, Cement.
4) Maharana Pratap, Cement.
5) Mahavir Prasad Dwivedi, Bust, Bronze.
6) Suryakant Tripathi Nirala, Bust, Bronze, Allhabad.
7) All India Police Martyr Memorial Statue, 10 feet high, Cement, Bhopal.
8) Devi Ahilyabai Holkar, Marble, Indore.
9) Police Martyr Memorial Statue, Cement, Gwalior.
10) Col. C.K.Naidu, 15 feet high, Cement, Nehru Stadium, Indore.
11) Maharaja Yeshwantrao Holkar, Life-sized, Bronze, M.Y. Hospital, Indore.
12) Makhanlal Chaturvedi, Bust, Cement, Khandwa
1928
Studied arts under D.D. Deolalikar along with N.S. Bendre, M.S. Joshi, M.F. Husain, Solegaokar at the Chitrakala Mandir (later Govrenment Fine Arts College), Indore, India.
1933
G.D.Arts - Sir J.J. School of Arts, Bombay.
1937
Studied sculpture under Dada Phadke of Dhar for 2 years.
(Admitted directly in the 4th year of sculpture in Sir J.J. School of Arts, Bombay and was declared 1st in the examination.)
1978
Ph.D., Government Fine Arts College, Indore.
POSITIONS HELD
1939-52
Founder Principal, Dhar Arts College, Dhar.
1952-1967
Principal: Government Fine Arts College, Indore.
MEMBERSHIPS
1) Appointed Member of General Council in the founding year 1954-55 of Lalit Kala Akademi (Fine Arts Academy), New Delhi.
2) Life Member - Bombay Art Society, Bombay.
3) Life Member - M.P. Kala Parishad, Bhopal.
AWARDS
GOLD MEDALS / BEST EXHIBITS
1931
1st Prize for painting titled 'Composition' in 3rd year of studies in Sir J.J. School of Arts, Bombay.
1932
1st Prize for painting titled 'Life' in 4th year of studies in Sir J.J. School of Arts, Bombay.
1935
President of India’s Silver Plaque by All India Fine Arts and Crafts Society (AIFACS), New Delhi for-
'Lal Pagdi' (Red Turban).
1944
Two Awards in Central India Exhibition, Indore-
1) Best Exhibit for 'Beggar'.
2) 'Udaipur' (Udaipur city).
1944
Best Composition Award by Bombay Art Society, Bombay for-
'The Weekly Market', Oil on canvas, 48inx36in.
1945
Gold Medal (Best Oil Painting) by Bombay Art Society, Bombay for-
'Bhikhari' (Beggar), Oil on canvas, 48in x 48in.
(In private collection of Industrialist Birla’s Bombay residence)
1947
1) H.E. the Governor's Gold Medal by Bombay Art Society, Bombay for-
'Baskets', Oil on canvas, 24in x 24in.
2) Awarded for-
'Dhar Ki Ek Gali' (A Street of Dhar), Oil on canvas, 24in x 24in.
1949
Three awards in the 3rd Exhibition of South India Society of Painters, Egmore, Madras (Chennai)-
1) Best Exhibit - H.E. the Governor's Trophy for-
'Boats', Oil on canvas, 30in x 24in.
2) Commendation award for-
'Gauri Festival' and 'Bride Buying Bangles'
1950
Gold Medal in Fine Arts and Crafts Exhibition, Shimla for-
'At The Well'
1951
Gold Medal by Madhya Bharat Government, Bhopal for-
'Sculpture'
1951
Best Composition Award by Bombay Art Society, Bombay for-
'Boats', Oil on canvas.
1953
Gold Medal by Academy of Fine Arts, Amritsar for-
'At the Well', Water color, 22in x 20in.
1953
Gold Medal (Best oil painting) by Government of Punjab for-
'Omkareshwar'.
1954
Gold Medal at Trivendrum for-
'Festival'.
1955
H.E. Governor’s Gold Medal (Best Exhibit) - Academy of Fine Arts, Calcutta for-
'Pichola Lake'. Oil on canvas, 36in x 24in.
1959
Distinguished Gold Medal at the hands of Pt. Jawaharlal Nehru in All India Kalidasa Exhibition, Ujjain for-
'Shakuntala'.
OTHER AWARDS
1932
Awarded at Indore for-
'Clay Modeling'
1935
Four Awards by Madras Fine Arts Society, Madras (Chennai) for-
1) 'Khargone', Oil on canvas.
2) 'Mandleshwar', Oil on canvas.
3) 'Tokriyan Banaane Wale' (Basket Makers), Oil on canvas.
4) 'Bhoori Aakhon Wala Ladka' (A boy with grey eyes), Oil on canvas.
1936-37
Silver Medal in Uttar Pradesh Industrial & Agriculture Exhibition for - 'Clay Modeling'.
1939
2 Awards in Annual Exhibition of the Bombay Art Society, Bombay for-
1)'Dhar Street' (A Street of Dhar City).Watercolor.
2)'Bartan Bazaar' (Utensils Market).Watercolor.
1943
2 Consolation prizes by Bombay Art Society, Bombay for
1) 'Kahan Jayein' (Where to Go?), Oil on canvas, 20inx12in.
2) 'Kya Karein'(What to Do?), Oil on canvas. 20inx12in.
1943
Cash Reward by Maharaja Gaikwad of Baroda.
1944
Cash Reward by Maharaja Gaikwad of Baroda.
1946
Awarded by Bombay Art Society, Bombay for-
'Jalmahal-Udaipur' (Water Palace of Udaipur city)
1946
Awarded by School of Art Society, Nagpur for-
'Mandleshwar mein Narmada' (River Narmada in Mandleshwar)
1948
Two awards by School of Art Society, Nagpur.
1950
Scholarship awarded by Academy of Fine Arts, Calcutta for-
'Boats'
1950
The Times of India Award by Bombay Art Society, Bombay for-
'A Bride Buying Bangles'
1952
Excellence Award by Bombay Art Society, Bombay.
1952
Silver Medal by Academy of Fine Arts, Amritsar for-
'Moharram', Oil on canvas.
1954
Commended by Bombay Art Society, Bombay for-
'The rural life of Malwa region' and
'Jahaz Mahal' (Ship-Palace).
1955
Awarded by Bombay Art Society, Bombay for-
'Chowpatty' (Chowpatty Beach, Bombay)
1955
Awarded in the 1st National Exhibition, Lalit Kala Akademi, New Delhi for-
'A Sketch', Oil on canvas, 36 in x 48 in.
(Now in collection of National Gallery of Modern Art)
1955
Patel Silver Trophy and Reward by The Art Society of India for-
'Vijeta' (The Winner).
EXHIBITIONS
1947
Solo Exhibition, Bombay.
1949
Solo Exhibition, Bombay.
Exhibition inaugurated by Walter Langhammer.
1951
Solo Exhibition, Bombay.
1960
Exhibition with Shrenik Jain by Bombay Art Society, Bombay.
1965
Five paintings exhibited in the VIII Biennale Exhibition, 1965, Sao Paulo, Brazil.
Participated in Artist Aid Fund Exhibition, Switzerland.
1967
Two Exhibitions at his own Art Gallery inaugurated by H.E. Princess Usha Raje Holkar at Indore.
1975
Felicitation and exhibition by the 'Madhya Pradesh Kala Parishad' in their event called 'Utsav' at Bhopal.
1977
A felicitation event and exhibition called 'Prasang' (The Context) organized in presence of N.S. Bendre, S.H. Raza and others, in recognition of his lifetime contribution to art. Sixty-three of his paintings exhibited at Bhopal.
1979
Solo Exhibition, Bombay Art Society, Bombay.
1981
Solo Exhibition, 'Utsav' organized by M.P. Kala Parishad at Raipur.
1982
Exhibition of paintings focusing on river Narmada on occasion of 'Madhya Pradesh Utsav' at New Delhi.
1983
Solo Exhibition on occasion of his birthday by Rituphalak, Indore.
1984
Solo Exhibition on occasion of his birthday by Art Commune, Indore and Analya Arts, Gwalior.
1985
A Retrospective Exhibition on his works organized by M.P. Kala Parishad, after his demise.
FELICITATIONS / HONOURS
1961
Felicitated by the national poet of India, Maithilisharan Gupt, on the occasion of the centenary celebrations of the Saraswati magazine.
1975
Felicitated by the Madhya Pradesh Kala Parishad in their event called 'Utsav' at Bhopal.
1977
A felicitation program and exhibition called 'Prasang' (The Context) organized in presence of N.S. Bendre; S.H. Raza and others, in recognition of his lifetime contribution to art. Sixty-three of his paintings exhibited at Bhopal.
1981
Awarded the highest recognition in fine arts-the 'Shikhar Samman'-instituted in that year itself-by the Government of Madhya Pradesh at the hands of erstwhile Prime Minister of India, late Mrs. Indira Gandhi.
1982-83
Fellowship awarded by Government of India.
1983-84
Fellowship awarded by Government of India.
COLLECTIONS
Apart from various private and public collections in India, U.S.A., Russia, Canada, Japan, Switzerland etc. following are the known collections-
1) Rashtrapati Bhavan-Residence of H.E. the President of India, New Delhi -'Prasadhan' (Toilet).
2) National Gallery of Modern Art.
3) Emmanuel Schlesingers’ Collection, Bombay (Mumbai).
4) Air India, Bombay (Mumbai).
5) Defence Academy, New Delhi.
6) Mr. Rogers.
7) Mr. Hoff.
8) Lady Ranu Mukherjee, Calcutta.
9) Pilani Museum.
10) Industrialist Birla's Residence, Bombay (Mumbai).
11) Nimker Collection, Lonavala.
12) Ciba Pharmacy, Bombay (Mumbai), 'Fasal Kataai' (The Harvest).
13) Princess Usha Raje Holkar, Bombay (Mumbai) & Indore.
14) Ex - Home Secretary L.P. Singh, New Delhi-'Bhoot' (The Ghost).
15) Kala Niketan, Jabalpur, 'Maheshwar'.
16) Bharat Bhavan, Bhopal.
17) Border Security Force Headquarters, New Delhi.
18) Kala Vithika, Gwalior.
19) Rai Krishnadasa, Varanasi, 'Triveni Sangam' (The three rivers meeting).
20) Arts and Commerce College, Indore- 'Rabindranath Tagore'.
21) Department of Information Government of Madhya Pradesh, India-'Gehu Ki Kheti' (Wheat harvesting).
22) College of Combat, Mhow.
23) Mahatma Gandhi Memorial Medical College, Indore, 'Mahatma Gandhi'.
24) Lalbagh Palace, Indore.
25) Border Security Force, Tekanpur, Gwalior.
26) Government Fine Art College, Indore.
27) Police Training Centre, Sagar, -'Rahul'; 'Dahej'(Dowry) and 'Maheshwar'.
28) K.F. Rustomji, Indian Police Service.
29) Saraswati Press, Allahabad, -'Dr. Rajendra Prasad'.
SCULPTURES
1) Jawaharlal Nehru, Bust, Marble, Barwani.
2) Indira Gandhi, Bust, Cement.
3) Mahatma Gandhi, Bust, Cement.
4) Maharana Pratap, Cement.
5) Mahavir Prasad Dwivedi, Bust, Bronze.
6) Suryakant Tripathi Nirala, Bust, Bronze, Allhabad.
7) All India Police Martyr Memorial Statue, 10 feet high, Cement, Bhopal.
8) Devi Ahilyabai Holkar, Marble, Indore.
9) Police Martyr Memorial Statue, Cement, Gwalior.
10) Col. C.K.Naidu, 15 feet high, Cement, Nehru Stadium, Indore.
11) Maharaja Yeshwantrao Holkar, Life-sized, Bronze, M.Y. Hospital, Indore.
12) Makhanlal Chaturvedi, Bust, Cement, Khandwa
2 comments:
I was recommended this blog by my cousin. I’m not sure whether this post is written by him as no one else know such detailed about my trouble. You’re incredible! Thanks!
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Great personality. His son S D Joshi was my class mate during 1970=72 but he in not touch with me from last so many years
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