emotional ‘epic’ style that expressed the rich diversity of post-colonial
The Bombay Group, with Krishen Khanna and Gaitonde among its last
members, didn’t last long. Though its individual artists produced original
and sensitive works, they were essentially loners, sharing no commitment
to any social or artistic ideology. They left therefore no singular influence
on the total art scene.
Bombay, as India’s cosmopolitan hub, went on to produce many eminent
‘originals’, including K.K. Hebbar, Tyeb Mehta, Akbar Padamsee, Sudhir
Patwardhan, Jehangir Sabavaia, N. S. Bendre and more recently, Atul
Dodiya and Jaideep Mehrotra.
In 1957, the Baroda Group of Artists was formed under the guidance of
N.S. Bendre. Prominent artists of Baroda include, Bhupen Khakkar,
Gulam M. Sheikh, Ratan Parimoo, Rekha Rodwittiya, Jyotsna Bhatt and
This dynamic group evolved from a significant occurrence in 1950 in the
Indian art scene—the founding of the Faculty of Fine Arts in Baroda
With renowned Bengal sculptor Sankho Chowdhury as its first advisor and
a faculty staffed with legendary names from India’s art milieu (including
N. S. Bendre and Jeram Patel from Bombay, and K.G. Subramanyan from
Shantiniketan), the Baroda School was to become a vibrant creative
center and workshop for gifted artists from all over India.
While proclaiming their adherence to Indian tradition, both faculty and
students grappled creatively with the issues of cubism, abstraction and
other formal concerns of style and language.
There was no collective voice or artistic impulse that ruffled the surface of
the Delhi art scene till painter-sculptor K.S. Kulkarni founded the avant
garde Delhi Shilpa Chakra in 1947.
Born in Belgaum, and educated at Bombay‘s JJ School of Art, Kulkarni
was then working at AIFACS (All India Fine Arts and Crafts Society).
The Delhi Shilpa Chakra gave the city’s young forward looking artists a