'Legacies of a Palette’, a unique exhibition at Kunst Gallery in Mattancherry, is a nostalgic experience that traces the evolution of modern art in south India under the guidance of the Madras School of Arts and Crafts and the legendary K C S Panicker.
Curated by art historian and educator Tensing Joseph, the exhibition revisits a period when artists from south India began exploring their own distinct modern language.
“They were the ones who moved away from the Western concept of art and introduced a kind of south Indian modernism, or regional modernism, in Indian art,” notes Tensing.
“This exhibition looks at how that regional language evolved, how it influenced generations of artists from Kerala, and how it continues to shape contemporary art today.”
The show brings together works of artists who either studied at the Madras School or were deeply influenced by its philosophy. Under the stewardship of Panicker, who was the principal of the institution from 1956 to ’66, artists were encouraged to “look inward” — towards the cultural, linguistic, and spiritual heritage of south India.
“As a result, they introduced a kind of indigenous style of abstraction in south Indian contemporary art,” says Tensing, an alumnus and a former principal of College of Fine Arts in Thiruvananthapuram (CFA).
“Some remained inclined towards human figurative paintings, while others experimented with semi-abstraction, incorporating abstract elements into depictions of human figures.”
The exhibition also pays tribute to several artists like who have passed away, including M V Devan and C L Porinchukutty, whose pioneering work laid the foundation for Kerala’s modern art movement.
For instance, Porinchukutty, the founder-principal of CFA, played a key role in diversifying art education in the state. “He invited a lot of alumni from the Madras School to the College of Fine Arts as visiting faculty,” Tensing recalls.
“One such alumnus was K K Hebbar, who painted a portrait of Porinchukutty during his visit. That portrait is part of the exhibition.”
Among notable works featured is a sculpture by Anila Jacob, who was a long-time resident of the Cholamandal Artists’ Village that Panicker founded in Tamil Nadu.
Her presence in the show highlights the contribution of women artists who were part of this formative movement but are underrepresented.
“Initially, when I was selected for the sculpture course, I was disappointed. But my father consoled me saying, ‘If K C S Panicker had selected me for it, he must have seen something.’”
Anila went on to become the first woman sculptor to receive the National Award from the Lalit Kala Akademi in 1965.
Curiously, the exhibition omits the titles and descriptions of the individual artworks displayed. “Most of the artists are not with us today. We cannot go back and ask them about their artwork. We wanted to maintain uniformity,” says Tensing.
“This is like a homage. It’s about understanding how their visual language evolved, what distinguished it from new initiatives, and how it continues to resonate.”
The exhibition will conclude on October 31. For details,
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