| 词条 | Draft:Surjit Akre |
| 释义 |
{{Infobox artist BiographyBorn - 22 March 1954, Taran Tarn, Punjab, India. Nationality - Indian, Education - Post Graduate Degree in Easel Painting, Faculty of Fine Arts, Academy of Arts, Repin Institute of Painting, Sculpture & Architecture, in St. Petersburg,Russia. (1978-85). Surjit Akre (Punjabi: ਸੁਰਜੀਤ ਆਕਰੇ; 22 March 1954) is an eminent Indian painter. She is the first Indian Artist who has achieved a Post- Graduate Degree in easel painting, from Russia, Academy of Fine Arts, Repin Institute of Painting, Sculpture & Architecture, in St. Petersburg.Post-Independence India has witnessed emergence of many woman painters, who rose to prominence due to their sheer merit and established themselves nationally and internationally. A well-known name among these artists is Surjit Akre. She is an accomplished figurative artist. Surjit Akre traveled throughout her life including Russia, USA, Canada, Italy, Tashkent, Armenia, Nepal and India, deriving heavily from their art styles and cultures. CareerSurjit Akre’s early paintings display a significant influence of the Soviet art, Social realism modes of painting, especially as practiced in the Repin Institute of Saint. Petersburg in the early 1980s. Her 1985 oil painting,“ Illiteracy eradication", came as a breakthrough for her; the work awarded highly commended at the Annual Post Graduate Works Exhibition, St. Petersburg, Russia. She was the only Indian to have received this recognition. Her works during this time include a number of self-portraits, as well as life in Saint. Petersburg, nude studies, still life studied, and portraits of friends and fellow students. In 1985 she had her first solo show at the friendship house in Saint. Petersburg. Surjit returned to India in 1986. She joined the Cultural Department, Embassy of the Russian Federation in Delhi as the assistant of the exhibition department. In 1988 she found the ‘Roerich’s Art Society’ affiliated to the RCSC. She curated about 200 important shows. In 1986 she had her major solo show at Shridharani art gallery, Delhi which was highly appreciated by the art critics of India. Kishna Chaitanya the eminent art critic of India described ”The genre studies of men and women at work and leisure are un pretentions but delightful. Her forte is the portrait and some of the paintings are psychologically insightful portrayals.” Renowned art critic K. L. Kaul described, Surjit, shows a very good understanding of the human figure and its anatomy. Though the stances are realistic, there is nowhere a mistake, either in oils or in drawings in conceiving the body as a unified whole. To get inside the skins of people belonging to a different ethos is even for very accomplished portrait makers a hard task. The social realism which is predominant in Russian paintings has cast a shadow on Surjit’s works. But then, of late, she has developed her own colour scheme that makes all the difference. Now she was mainly preoccupied with problems of women in her paintings. The small and large-sized canvases are of people from her surroundings. Woman often finds a place in her works. And her woman is sad, a bit pessimistic. In defining the human-life phenomenon Surjit has taken to subjects like family life and the fearful people of Punjab points to the prevailing conditions in the terrorists-stricken Punjab. This again reflects the sensitiveness of the artist. In another painting a lone woman is surrounded by hounds is symbolic of the condition of a hopeless woman. In drawings Surjit builds the figure with bold and articulates lines. Krishna Chaitanya writes “ The heaviness of the burden of life on the poor is depicted with a unique pathos by Akre Surjit” But her excellent work is not the cup of tea of those who deride both the figurative and the romantic in preference of the modern abstract. They are likely to be ill of ease viewing her work, in spite of its excellent artistic quality and a very warm feel. But then there is no one style of art that could be philosophically justified as the only ruler in the realm of artistic creation. Both the figurative and the abstract have their place in the world of fine art and also their respective appeal. One could not replace the other. So one could keep off the controversy and confine oneself to what has been offered by Surjit It Is noteworthy, as usual, that Surjit manages her technical side as well as her emotional content well, and there is no room left for complaint. It is also interesting to note that nature invariably constitutes the effective backdrop of her human drama, the center of which is, generally a young woman, engrossed in her dreams. In 1989 she painted the terrorists-stricken Punjab, the painting now with the Gallery of Modern Art in New Delhi. She was awarded AIFACS President of India's silver plaque and Dr. M.S. Randhawa memorial cash award for this painting in 1990. Later in 2013 she produced the series ‘I want to live’. , the 2012 gang rape in the city stirred something in her. “I was very disturbed after i heard about the rape. I started painting my anger on canvas. That is how the “I Want to Live collection evolved,” says the painter. Mainly her works dwell upon the human emotions. She depicts the scenario in a more direct and simpler manner, creating the feelings by way of composition of forms. The most important factor in her works is the reflection of contemporary state, ideas and taste which is palpable. The pattern, somehow, tends to take on a shade of Amrita-Sher-Gill’s mannerisms, but lacks the intensity. Surjit’s distinction lies in her method of presenting lifelike forms with innovative background and subtly changing contrast in colours. The feeling, emanate not from any single object but from the composition taken as a whole. Akre Surjit’s works bear a genuine touch of emotion and feeling emanating not from any particular object,but from the work as whole, Concludes Soumik Mukhopadhyaya Knowledge is Power’, in which the artist depicts a woman rowing and pushing aside all the slimy creatures, is painted well with the hind portion in a darker shade while a light falls on the figure from the front. The artist further creates a tension of movement—the figure’s motion is opposite to that of the creatures — which strikes a rather tight chord by which the composition is bound. Works
References1. ^[citation to reliable source, print or e, goes here] https://fineartamerica.com/Further reading
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