Krishna Reddy - U.n. (Wfuna) Art Graphic - Indian American Scarce 347/1000

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US, Item: 176299960718 KRISHNA REDDY - U.N. (WFUNA) ART GRAPHIC - INDIAN AMERICAN SCARCE 347/1000. KRISHNA REDDY - U.N. (WFUNA) ART GRAPHIC - INDIAN AMERICAN ARTIST PRINT MEASURING 8 1/2 X 11 INCHES Krishna Reddy (15 July 1925 – 22 August 2018)[1][2] was an Indian master printmaker, sculptor, and teacher.[3] He was considered a master intaglio printer and known for viscosity printing.

Krishna Reddy (15 July 1925 – 22 August 2018)[1][2] was an Indian master printmaker, sculptor, and teacher.[3] He was considered a master intaglio printer and known for viscosity printing. Early life and education Krishna Reddy was born on 15 July 1925, in a small village called Nandanoor, near Chittoor, Andhra Pradesh, in India.[4][5] Reddy studied at Visva-Bharati University's Kala Bhavana (Institute of Fine Arts) with Nandalal Bose, from 1941 to 1946, and graduated with a degree in fine arts.[3][4] From 1947 to 1949, he was head of the art section at Kalakshetra Foundation and was also teaching art at the Montessori Teachers' Training Centre in Madras.[4] It was at this time that he took interest in sculpture and painting.[4] In 1949, he moved to London, and continued his sculpture studies with Henry Moore at the University of London's Slade School of Fine Arts.[4] In 1950, Reddy moved to Paris and met artist Constantin Brâncuși. Through Brâncuși, he was introduced to cafe discussions on art and met many famous artists during studio visits.[4] During his time in Paris he studied sculpture under Ossip Zadkine and engraving under Stanley William Hayter.[4] In 1957, he traveled to Academia Di Belle Arti Di Brera (Brera Academy) in Milan to study under Marino Marini.[4] In 2016 he was one of the subjects of the exhibition Workshop and Legacy: Stanley William Hayter, Krishna Reddy, Zarina Hashmi at the Metropolitan Museum of Art.[3] Career Printmaking Reddy was considered a master in intaglio printmaking and after 1965 was an associate director at Hayter's Atelier 17.[6] Atelier 17, a thriving artist workshop was founded in 1927 by Hayter and was originally located in Paris; however between 1939 and 1940 the workshop moved to New York City and in 1950 back to Paris.[7] Atelier 17 has always been a meeting place to experiment with their art practices for both European and American artists including Joan Miró, Pablo Picasso, Alberto Giacometti, Juan Cardenas, Constantin Brâncuși, and Zarina Hashmi.[3] Reddy's technique and style distinguished him as an important printmaker. Reddy's prints are abstract, created with subtle grid-like designs on plates with intricate texturisations. The myriad complex colours that he introduced in prints are marked by a contemplative approach to the infinite mysteries of nature.[8] While working at Atelier 17, Reddy was instrumental in developing a new printing process to produce multi-coloured prints from a single printing matrix by exploiting the viscosity and tackiness of the inks, subsequently named viscosity printing.[9][10] Reddy would later teach the viscosity etching technique at Robert Blackburn (artist)'s Printmaking Workshop in New York.[11] Reddy received the Padma Shri award in 1972, in recognition of his distinguished contributions to art.[12] Teaching Reddy was a guest professor and lecturer at many universities in the United States including Maryland Institute College of Art, Pratt Institute, Ruskin College School of Fine Art and Drawing, University of Texas and many more.[4] Among Reddy's pupils is the painter and printmaker Kathleen Mary Spagnolo and Elaine Breiger.[13] Krishna Reddy died on 22 August 2018 in New York, at the age of 93.[9][14] Krishna Reddy, a pioneering modernist printmaker and sculptor celebrated for his colorful, intricate abstractions that both revolutionized printmaking and radiated a sense of childlike wonder, died in New York on August 22 at age ninety-three, according to Experimenter, his Kolkata-based gallery. He is survived by his wife, the artist Judy Blum, as well as his daughter Aparna. Reddy is recognized throughout the world for his experiments in printmaking and especially for his mastery of intaglio printing, a form he often used to express his awe for nature. Born in 1925 in Chittoor, Andhra Pradesh, India, Reddy earned his fine arts diploma from Visva-Bharati University in Santiniketan, West Bengal, where he formed mentorships with Nandalal Bose and Ramkinkar Baij. After moving to London in 1949 and receiving a certificate in fine arts from the Slade School of Arts, he studied sculpture in Paris with Ossip Zadkine at the Academie Grande Chaumiere and engraving—specifically, multicolor viscosity etching—with Stanley William Hayter at his Atelier 17, where Reddy later served as codirector. He nurtured friendships with Constantin Brancusi and Alberto Giacometti. In addition to being an enthusiastic pupil—he also studied sculpture in London with Henry Moore and in Italy with Marino Marini—Reddy became a teacher at places like New York University, the Maryland Institute College of Art, Pratt Institute, and the University of Texas, among other institutions. When he moved to New York in 1976, he formed the Color Print Academy.  RELATED Venice Biennale. ARTISTS AND CURATORS CALL FOR VENICE BIENNALE TO DROP ISRAELI PAVILION Salon Acme, Mexico City. SUPER STRUCTURES Reddy remained attuned to injustice throughout his life, participating in protests, including those of the Quit India movement. Amid Paris’s turbulent revolution in May 1968, he made the intaglio print titled Demonstrators and a pair of bronze sculptures titled Demonstration, which portray ethereal figures with their arms raised and are among his most famous works. Later in life, Reddy became interested in the subtle anguish of clowns and began depicting them in a series of works made following a trip to the circus with his daughter (who was captured as an infant in Apu Crawling, 1975). The artist was recognized with numerous awards, and his work is held in the collections of institutions such as the Metropolitan Museum of Art in New York, Tate Britain, the Kiran Nadar Museum in New Delhi, and M+ in Hong Kong.  “Friendship knows no age and Krishna was our friend in the truest sense of the word and friend to all those who he met and touched with his work,” his gallery said in a statement. “His works remain in his absence as living extensions of his visions of life and we are extremely privileged to be the custodians of that legacy he leaves behind.” Krishna Reddy (second from left), William Stanley Hayter (center), and other artists at a café in Paris, 1950s. Photo courtesy of Krishna Reddy The exhibition Workshop and Legacy: Stanley William Hayter, Krishna Reddy, Zarina Hashmi—now on view through March 26, 2017—features the work of these three master printmakers who met at Hayter's Paris workshop, Atelier 17, in the 1950s. Reddy worked with Hayter at Atelier 17 to establish groundbreaking advances in viscosity printing, a type of multicolor printing that incorporates relief and intaglio print-making techniques. Reddy's education spanned varied institutions and teachers, and his early life propelled him into the work that he created in the workshop. Krishna Reddy (American, b. India, 1925). Maternity, 1954. Mixed color intaglio, Plate: 17 13/16 x 13 1/16 in. (45.3 x 33.1 cm), Sheet: 25 9/16 x 19 1/2 in. (65 x 49.5 cm). The Metropolitan Museum of Art, New York, John B. Turner Fund, 2014 (2014.80) Born into a family of farmers in Chittoor, Andra Pradesh, India, in 1925, Reddy benefited from his village's proximity to the theosophical Rishi Valley School established in nearby Madanapaelle by the philosopher Jiddu Krishnamurti (1895–1986). Krishnamurti's teachings remained a strong spiritual and intellectual influence in Reddy's life, one that was never keen on artistic narcissism, but rather viewed art as a collaborative practice. As a young man Reddy was involved in the Quit India Movement initiated by Mahatma Gandhi, which demanded an end to British rule in India. In fleeing the colonial police for his involvement in this revolutionary movement, Reddy came to Santiniketan, West Bengal, where he spent his formative years at Visva-Bharati University's Kala Bhavana (Institute of Fine Arts) founded by Nobel Laureate Rabindranath Tagore (1861–1941). While at Santiniketan, Reddy trained to be a sculptor and watercolorist, and came to be influenced by key figures such as Nandalal Bose (1882–1966), Ram Kinker Baij (1906–1980), and Benode Behari Mukherjee (1904–1980)—artists now characterized as forming the school of contextual modernism in India. Detail views of two works created by Krishna Reddy at Santiniketan, ca. 1946. Photos courtesy of Krishna Reddy Reddy continued his education in Europe at the Slade School of Fine Art at University College London, where he studied under Henry Moore (1898–1986) and Lucian Freud (1922–2011). In 1953 he received a scholarship to study sculpture in Paris under the Russia-born sculptor Ossip Zadkine (1890–1967), and it was there that he met Hayter, a British scientist and inventor of print-making techniques. Reddy joined Atelier 17, a thriving workshop where an uncountable number of artists were able to visit and experiment with their practices, including Joan Miró, Pablo Picasso, Alberto Giacometti, Juan Cardenas, Constantin Brancusi, and Zarina Hashmi. It was at this time that Reddy wrote about his artistic ideas in his notebooks, where he displayed an eagerness to articulate his understanding of art. An excerpt from these notebooks is reproduced below. Excerpt from the Notebooks of Krishna Reddy, Paris, 1950s Three pages from one of Krishna Reddy's notebooks used in the 1950s. Photo courtesy of Krishna Reddy "A New Form" The same way as the sound transforms into light waves through a medium, the visual form if expressed spontaneously in any medium like in words, music, colour, stone, metal, etc., a completely new form results. For the working process of nature cannot be initiated by our expressing the same experience through plastic mediums. Not a screw we turned in these dark periods, whereas in the West, the artist, the philosopher, the scientist, and the common man walked hand in hand answering the problems of man in one way or the other. While our great men went into caves to meditate. We do not want a paradise, in this age, but we need a healthy man. For that we have become aware of the mistakes of the Western man in trying to be happy, has created a psychologically sick man. There the artist, the scientist, the philosopher, and the common man have got confused—for the machine is enslaving them. Why not we learn a lesson and create a healthy surrounding where a healthy man can grow and live a creative life—be a flute of the great nature that surrounds us. Great forces are churning this earth, creating this cream of vast unknown forms of nature, and we are left to wonder and if possible calculate this with our own limited mind. When one stopped measuring we see man like a flute in Nature's hands and we experience a bit of that vast unknown. Ah! To be that flute! If the tree, standing on the earth, is real to our eyes and the image of the tree with all its roots, we know of, radiating like the sun's rays—from the seed to the flowers—is real, why not the whole being of the tree—the whole machinery, the cells, the molecules, the atom, and the whole structure that we have understood be revealed. To see the flame of the tree radiating like a fountain, so are nature's every form and the space itself. Like the dance of the Nataraja, space beats out a form and the form creates space. To think of this part of the earth where we live, a special region indeed, with more colour, more light, more varieties of forms of nature, and more wealth, what we made of this land—a grand miserable slum by day—with the few who do not want to part their so-called long-loved freedom—leaving the big populations in a utter misery and sickness. We have been that way for thousands of years or more, enslaved and twisted with disease—never have we grown in those thousand years—but in number we have grown from 2 crores (20 million) to 40 crores (400 million), not a screw we turned out as a society. How can the common man understand the artist of today? It is the question they ask me every day. True, they have gone apart—and that is the problem to be solved. The critic, instead of being the educator of the masses, is involved in creating a personality out of the artist with commercial outlooks, the common man condemning the artist for not pleasing his eyes and psychological needs; and the artist to be creative and to investigate is involved in his own satisfaction, he is the product of a sick society. His nervous hands not under control or his mind wandering away as his suppressed desires run amuck—so his work of art is full of confusion. This vicious circle is the problem of today—in order that the common man, the critic, and the artist to be in time with each other—we need to work together for a healthy atmosphere to create healthy men on this fast-rolling earth—for us to stop and investigate during our short-lived lives—a white ant that was born today to die tomorrow—and yet sing in tune with this unknown universe. Left: Krishna Reddy (American, b. India, 1925). A New Form, 1950s. Photo courtesy of the artist. Right: Krishna Reddy (American, b. India, 1925). Untitled/"Demonstration" with Single Figure, 1968. Cast bronze, Height: 16 in. (40.6 cm), Width: 4 in. (10.2 cm), Depth: 4 in. (10.2 cm). On loan from the artist KRISHNA REDDY : biographical journey b. 1925, Nandanoor, a small village near Chittoor, Andhra Pradesh LANDMARK EVENTS IN THE LIFE OF KRISHNA REDDY 1942 Krishna painted hundreds of posters for the Quit India Movement and went around pasting the posters at night. Following the nationalist upsurge, he participated in nonviolent protests and also went to jail a couple of times. 1942-47 Completed Diploma in Fine Arts at Visva-Bharati University, Santiniketan, under the tutelage of Nandalal Bose. He also studied botany and biology. His love for printmaking as a medium also developed during the Santiniketan years, experimenting with woodcut, engraving, etching and lithography. 1947-49 Joined College of Fine Arts, Kalakshetra, Madras; (founded in 1938 by the legendary dancer Rukmini Devi Arundale) as Head of the Arts Department. Reddy also started teaching Art at the Montessori Teachers’ Training Centre, Madras, where he came in direct contact with Jiddu Krishnamurti, and was engaged in several discussions on art with him. During this phase Reddy was mostly painting and sculpting portraits. Late 1940s Joined Theosophical College in the nearby town for graduate studies. Also began to spend time at the Rishi Valley School, Madras founded by Jiddu Krishnamurthy, and retained touch with the institution even after he left the college. During this time he made a series of murals about 13 metres at the Rishi Valley School. 1949 Moved to London Joined the Sculpture Course at the Slade School of Fine Arts, University of London, and studied under the guidance of renowned sculptor Henry Moore. He also simultaneously joined the Institute of Contemporary Art where he met other artists and art historians like Graham Sutherland, Howard Hodgkin and Herbert Reed. While studying in London, Reddy also met Krishna Menon, the first High Commissioner of India in England, who encouraged him to travel to Paris. 1950 Moved to Paris Met Brancusi, and became a regular participant of the café discussions on art. He visited studios of master-artists like Leger, Ossip Zadkine, Orpad, Scenishe and S.W. Hayter. Reddy came in contact with the Surrealists artists at Hayter’s and in Montaparnasse, especially Giacometti and Miro. 1951 The Russian sculptor, Zadkine sent Reddy to Stanley William Hayter’s ‘Atelier 17’, who became a significant influence and mentor for the rest of his life. Both Hayter and Reddy introduced to the art community a new intaglio printmaking process called simultaneous colour printmaking, on a single intaglio plate. He worked with his friend Kaiku Moti to learn about controlling the amount of oil for the desired viscosity and effect. 1954 Certificate in Fine Arts, Academic Grande Chaumiere, Paris, with Ossip Zadkine Specialised in Gravure, Atelier 17, International Center for Graphics, Paris with S W Hayter 1957-64 Graduated to Assistant Director, Atelier 17, Paris 1957 Certificate in Fine Arts, Academia Di Belle Arti Di Brera, Milan, with artist Marino Marini 1962 He participated in the Austrian Sculptor’s Symposium, St. Margarethen 1964 He made a monumental marble sculpture at Mont Royale, Montreal, Canada. He was invited for the Symposium of International Sculptors in Montreal. Reddy was invited to the American University in Washington DC as an Artist-in-Residence to teach colour printmaking for a semester. He met and revived his acquaintance with Bob Blackburn, the director of the Printmaking Workshop. 1964-76 On return to Paris from his first visit to America, Hayter appointed Krishna Reddy as Co-Director of Atelier 17 1968 The student revolution in Paris stirred severe protests and marches. At this point, Krishna made works like Demonstrators, Praying Woman and Apu Crawling. Delivered a workshop and seminar on Colour Viscosity for Midwest Artists and Teachers, Stout State University, Menomonie, Wisconsin, and also at University of Minnesota, Minneapolis Late 1960s Reddy began travelling almost six months in a year, invited to educational institutions for lectures and workshops. He also travelled to India every year to share his experiences. 1973 Conducted special workshops on colour printmaking at Yale Summer School of Music and Art, Norfolk, Connecticut 1976 Moved to New York. 1976 Joined as Professor and Director of the Department of Graphics and Printmaking in New York University. He established a special workshop for working artists and teachers called Colour Print Atelier. 1978 He was invited to inaugurate the printmaking studios at the Garhi Art centre of Lalit Kala Akademi, New Delhi, where he also conducted a seminar and lecture demonstration Conducted special workshops on colour printmaking at Yale Summer School of Music and Art, Norfolk, Connecticut 1979 Conducted workshops and demonstrations on Pointillist and Broken Colour Printmaking, Kala Institute of Graphics, Berkeley, California 1982 Delivered a series of seminars on New Ways of Colour Printmaking, The Bronx Museum of the Arts Krishna Reddy has extensively lectured as Guest-Professor at various Universities such as University of Texas, Hawaii, Mexico, California, Michigan, Wisconsin, Maryland Institute College of Art, Pratt Graphic Center, Ruskin School of Fine Art and Drawing (Oxford University) etc. He has participated as artist-in-residence at various art centres and institutions such as the National Centre for the Performing Arts, Bombay, Carnegie Mellon University, Pittsburgh, Visva Bharati University, Santiniketan etc. SELECTED SOLO EXHIBITIONS / RETROSPECTIVES:  In INDIA 1958 Gallery Kumar, New Delhi 1962 Kunika Art Centre, New Delhi 1966 Chemould Gallery, Bombay 1973 Academy of Fine Arts, Calcutta 1974 Associated American Artists, New York Chemould Gallery, Bombay 1978 Galerie Vivant, Tokyo En Gallery, Kotchi City, Japan Clark Gallery, Sapporo, Japan 1984-85 Retrospective, Birla Academy of Fine Arts, Calcutta Retrospective, J J School of Art, Bombay Retrospective, Rupankar Museum, Bhopal 1985 Artists Indiens en France, Centre Nationale l’Arte Plastique, Ministry of Culture, French Government, Paris 1986 Selected Engravings, Chemould Gallery, Bombay 1993 Retrospective Exhibition, Chitrakala Parishath, Bangalore 1994 Gallery Espace, New Delhi 1994-95 Chemould Gallery, Bombay 1995 Galerie 88, Calcutta Prints and Beyond, Curated by Kay Lee, Gallery Korea, New York; Sakshi Gallery, Madras 1997 Krishna Reddy: Early Engravings 1950s & 1960s, Gallery Espace, New Delhi 1998 Krishna Reddy: Early Engravings 1950s & 1960s, Galerie 88,  Calcutta  Vadehra Art Gallery, New Delhi SELECTED RETROSPECTIVES ABROAD 1989 Retrospective, Ex-Convento del Carmen, Guadalajara Retrospective, Piacoteca del estado de Tlaxcala, Tlaxcala Retrospective, Taller de Artes Plasticas Rufine Tamayo,  Oaxaca 1990 Retrospective, A travelling show in Mexico Krishna Reddy: Colour Intaglios, West Room Gallery, Yonkers Educational & Cultural Art Center, Yonkers Clown Juggler – Colour Improvisations, Kenkeleba Gallery, New York 1992 Historic Intaglios of Krishna Reddy, Noel Fine Arts Gallery, Bronxville, New York 1996 Krishna Reddy: Early Engravings 1950s & 1960s, La Maison Francaise, New York University, New York 1997 Krishna Reddy: A Retrospective, Printmaking Council of New Jersey, Sommerville, New Jersey 2008 A Retrospective, Thomas Erben Gallery, New York City SELECTED INTERNATIONAL GROUP EXHIBITIONS /PARTICPATION 1954 Annual International Print Show, Seattle Art Museum, Washington 1962 Hayter and Atelier 17:1927-62, Institute of Contemporary Arts, London 1956, 1965 Biennale of Ljubljana, Yugoslavia 1966 Hayter and Atelier 17, Azuma Gallery, Kyoto, Japan Hayter & Contemporaries of Atelier 17, Original Prints Gallery, San Francisco 1971 Five Artists from Atelier 17 and S W Hayter, La Tortue Gallery, Los Angeles 1972 Biennale of Tokyo, Buenos Aires, Tokyo 1977-78 50 Years of Atelier 17, a 50th Anniversary Retrospective, Brooklyn Museum, New York 1979 The 57th National Print Exhibition, The Society of American Graphic Artists, at Parsons Exhibition Center, New York 1980, 1981 Innovations in Intaglio: Atelier 17 & S W Hayter, a travelling show, Baltimore Museum, Baltimore 1982 Contemporary Indian Art, Festival of India in England, the Royal Academy Galleries, London Thirteen Innovative International Contemporary Printmakers, The Ashmolean Museum, Dep. Western Art, Oxford 1984 Legend and Analogies of Printmaking: Past and Present, Museum of Archaeology, Drew University, Madison, New Jersey 1985 Contemporary Works by Five Indian Artists, Festival of India, Great Neck Library, Great Neck, New York 1986 Through A Master Printer: Robert Blackburn and the Printmaking Workshop, Bronx Museum of the Arts, Bronx 1987 International Printmakers, Chiang Mai University, Chiang Mai, Thailand 1987-88 Contemporary Prints from India, Kansas State University Collection & Manhattan Arts Council, Manhattan, Kansas 1989 International Biennial Print Exhibition, The Westlake Print Festival, Hangzhai, China 1991 Rembrandt to Warhol: The Art of the Print, Acquisitions from the Gordon Gilkey Curatorial Years, Portland Museum, Portland, Oregon 1992 Art Multiple Dusseldorf, International Kunstmarkt fur Grafic Stadthalle, Dusseldorf 1993 Hayter’s Atelier 17, Le Musee Du Dessin et de l’ Estampes Originale, Gravelins, France 1994 Rainbow: Prints from Bob Blackburn’s Workshop, two year travelling in sub-Saharan Africa 1996 National Print Biennial, sponsored by Pace Editions, Silvermine Guild Art Center along with Chuck Close, Jim Dine, Schnabel, Peterdi, N Caanan 1997 International Print Exhibition, Portland Museum, Oregon 2002 Pacific States Biennial Print Exhibition, University of Hawaii, Hilo, Hawaii SELECTED HONOURS & AWARDS 1972 Padma Shri awarded by the President of India, Shri V V Giri 1980 Gagan Abani Puraskar of Visva Bharati University, Santiniketan, conferred by Indira Gandhi, the then Prime Minister of India 1980 Conferred with Honorary Doctorate of Literature, S V University, Tirupati 1997 Kala Ratna, All India Fine Arts and Crafts Society 1985,1995 Honoured Guest Artist, Chitrakala Parishath, under the Ministry of Culture, Government of Karnataka, Bangalore 2000 Artist-Printmaker Emeritus of the Year, awarded by Southern Graphics Council of America, University of Miami and Florida 2002 Designated Professor Emeritus of Art and Art Education, by the President of New York University, New York Krishna Reddy lives and works in New York, USA ------------------------------------------------------------------------------------------------- Krishna Reddy was born in Chittoor, Andhra Pradesh in 1925. Krishna Reddy joined Kala Bhavan, Santiniketan 1941. He finished his studies there in 1946. After graduation, he taught art at Kalakshetra in the then Madras for three years between 1947 and 1950. Krishna Reddy went abroad in 195 1. For two years, he studied at the Slade School of Fine Arts, London and then he studied sculpture with Osip Zadkine between 1952 and 1955 in Paris and then with Marino Marini in Milan from 1956 to 1957. While in Paris, he also studied engraving with S W Hayter between 1953 and 1955. Considered a master in intaglio printmaking, Krishna Reddy has been guest professor at many top-ranking universities in the USA. He became an associate director at Hayter's Atelier 17 in Pads since 1965. Reddy received the Padma Shri in 1972. Reddy's technique and style have distinguished him as one of the best printmakers of the world. Reddy's prints are abstract. He creates subtle grid-like designs on his plates with intricate texturisations. The myriad complex colour that he introduces in prints are marked by a contemplative approach to the infinite mysteries of nature. One of the favorite anecdotes that master printmaker and sculptor Krishna Reddy liked recounting was when Nandalal Bose—or ‘Mastermoshai’ as he was called at Santiniketan in West Bengal—saw him drawing the flowers on a tree inside the leafy campus of the famous art school One of the favorite anecdotes that master printmaker and sculptor Krishna Reddy liked recounting was when Nandalal Bose—or ‘Mastermoshai’ as he was called at Santiniketan in West Bengal—saw him drawing the flowers on a tree inside the leafy campus of the famous art school. “I know you’re working hard,” Bose, a key figure of early Indian modern art, told Reddy, then a student. “But you’re still seeing the surface. Maybe the tree will take you in, slowly, if you persist.” For Reddy, this conversation changed the way he experienced nature. Rather than being caught up in form, he began to look for depth, or what he called “a wholeness to everything in nature”. Master printmaker and sculptor Krishna Reddy.(Ram Rahman) Master printmaker and sculptor Krishna Reddy.(Ram Rahman) It was a search that marked his contribution to modernist art, as it took him from Santiniketan to Paris and later New York, where he lived with his wife artist Judy Blum Reddy, and daughter Aparna, till he breathed his last on Thursday. He had turned 93 on July 15. Hindustan Times - your fastest source for breaking news! Read now. Born in 1925 in Nandanoor, a village in Andhra Pradesh, Reddy’s artistic skills were in demand as a young boy. In a 2004 interview, the artist recounted how at age 10, he hardly knew how to write or read, because he was encouraged to only paint. At 15, he went to Santiniketan, where his formal training in art began. As a young adult, Reddy took part in the Quit India movement. Soon after Independence, Reddy travelled to London to study sculpture at the Slade School of Fine Art, here he met the famous English sculptor Henry Moore . He shifted base to Paris in the early 1950s. It was here that Reddy came into close contact with Modern European artists like Marino Marini, Constantin Brancusi and the Russian born Ossip Zadkine. “They were not the usual teachers but were living, experimenting, and working artists. Starting in the early fifties I worked on a series of prints, which were built up as I used burins and scrapers and they became like sculptures. The way I worked the plate was to dig and gouge the metal. I used mostly hand tools but later on I also began to use machine tools. I like to call myself a printmaker but sculpture is my love. That is where I get all of my inspiration,” Reddy said in a 2016 interview to Art Radar, an online journal. Reddy’s use of the sculptural gesture in printmaking, for which he is most well known, was further cemented by his association with Atelier 17, an experimental printmaking studio started by Stanley Hayter. Here, Reddy met several abstract artists including Alberto Giacometti, Alexander Calder, Pablo Picasso and even American abstract painters Jackson Pollock and Mark Rothko. Together with Kaiko Moti, another artist from India, he experimented with colour intaglio printing using the viscosity process. Art historian and professor at Visva-Bharati, Santiniketan R. Siva Kumar explains that this process of making colour prints from a single plate with varied levels, using colours of different viscosity and applied with rollers of different degrees of softness, was a revolution in technique. “The multiple levels of depth on a single printing plate made the plate seem almost like a sculpture in itself. His plates looked like fine relief work. This shows a fine sensibility and refinement in the work.” Reddy began to hold workshops on this technique, in American and Indian universities. In 1976, he began teaching at New York University. Some of his most famous works produced around this time included Demonstrators (a print which was a response to the students protests of Paris in 1968), Apu (a minimalist print of a crawling child which he named after his daughter) and the Clown series (which emerged after a visit to the circus with his daughter, which led him to contemplate the melancholia and despair behind hilarity of a clown). According to Shukla Sawant, professor of Visual Studies at Jawaharlal Nehru University, and a printmaker artist herself, Reddy was a nodal figure in the network of modernist artists that emerged after the Second World War. “Artists from across the world flocked to printmaking studios in New York and Paris where he worked; his virtuoso use new technologies of image production and his generosity in sharing his methods attracted a worldwide following. With Bob Blackburn and William Stanley Hayter he helped to create a formidable ‘independent studio’ movement for printmakers.” “Krishna Reddy is one of the greatest printmakers and one of the finest abstractionists in printmaking that India has produced,” says Bose Krishnamachari, artist, curator and co-founder of the Kochi-Muziris biennale. “While studying at the JJ School of Art, I would see his works exhibited at Gallery Chemould and Jehangir Art Gallery.” Krishnamachari recalls meeting him in 1996 in his New York studio. “It was my first trip to New York. Experiencing the city with a visit to his printing studio was important to me. When I met him, he was very gentle in demeanour, soft-spoken and of course, one of the finest minds.” Reddy showed his works at Gallery Chemould, a 55-year-old establishment in Mumbai, several times through his career. His first solo exhibition there was in 1966. “Our association with Krishna Reddy goes back to my father Kekoo,” says Shireen Gandhy, who heads the gallery, now called Chemould Prescott Road. “He was an amazing graphic artist who developed a unique language in intaglio. For him, first and foremost was knowledge giving. So, when my dad organised a workshop at JJ School of Art, Krishna conducted it without hesitation because of this need to give back.” Back then, the market for prints wasn’t as developed but Reddy had his following. “The last time I met him was last year,” Gandhy says. “His wife Judy is a fantastic artist as well and shared such a wonderful friendship with him. Krishna was a very serious person and Judy had an upbeat lightness to her, and a wonderful sense of humour. They complemented each other beautifully. Judy is much younger, and she took amazing care of him. I saw first-hand her devotion to him.” (With inputs from Krutika Behrawala) Unveiling 'Elections 2024: The Big Picture', a fresh segment in HT's talk show 'The Interview with Kumkum Chadha', where leaders across the political spectrum discuss the upcoming general elections. Watch Now! Get Current Updates on India News, Rajya Sabha Election 2024 Live, Gaganyaan Mission Astronauts along with Latest News and Top Headlines from India and around the world West Bengal India Santiniketan Andhra Pradesh

  • Condition: Used
  • Artist: KRISHNA REDDY
  • Type: Print
  • Theme: Art
  • Original/Licensed Reprint: Original

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