Remembering Maqbool Fida Hussain – Shashi Tharoor శనివారం, జూన్ 9 2012 

M.F. Husain
Artist, 95


I first met M.F. Husain in New York when he was already a legend — “India’s Picasso,” the barefoot reinventor of Indian traditions through his prolific and iconoclastic paintbrush. We collaborated on a book about my home state of Kerala — 22 of his fine paintings together with my prose — and formed a friendship that was to last nearly two decades, till his passing at a youthful 95.

In an astonishing 60,000 paintings, sketches and murals Husain created an artistic idiom that was instantly recognizable as his — the Cubist slashes, the splashes of vivid colour, the variety of sources of Indian inspiration, especially from Hindu mythology, to whose richness and diversity he brought worldwide appreciation. His output was so prodigious that some of it is uneven. His restless creativity and desire to experiment in other fields led him to become a filmmaker, without conspicuous success, as well as to dabble in poetry and photography, architecture and even furniture-making. This was imaginative energy bubbling over, a zest for life he carried to his deathbed. It was a measure of how youthful he was in his 90s — sprightly, without stick or hearing-aid, fond of fast cars and beautiful women — that his passing came as such a shock to his friends, who had begun to think of him as immortal. (మరింత…)

Hyderabad architecture ఆదివారం, ఏప్రి 24 2011 

Regal grandeur: A richly embellished archway at the Falaknuma Palace. High ceilings, use of lime and mortar in construction, plenty of cross ventilation and courtyard spaces, which typified the city’s architecture for centuries, are now almost extinct due to lack of adaptation.-Photo: Nagara Gopal

source: The Hindu April 23, 2011

Vaikuntam’s rural Telangana మంగళవారం, ఏప్రి 5 2011 

Familiar figures
Gargi Gupta / Business Standard, April 02, 2011 New Delhi

Despite what the title of his latest exhibition claims, Thota Vaikuntam’s subject of choice remains images from Telangana.

In the increasingly city-centric world of Indian art, Thota Vaikuntam is one of the few painters who continues to be preoccupied with rural India. Though he has been living in the city of Hyderabad for many years now, the men and women Vaikuntam saw as a little boy growing up in his native Boorugupally village in rural Karimnagar continue to people his canvases.

He has painted them again and again over the past three decades, capturing them in all their vivid splendour — bright printed saris and colourful jewellery, their foreheads, palms and feet anointed with large tikas in red and yellow. These are not realistic portraits, but flat, caricatures that are delightful nonetheless. They have become Vaikuntam’s signature that assures him both loyal collectors and a healthy premium in the art market. And over the past few years, his stock has been rising with a large, untitled canvas from 2007 topping Rs 30 lakh at Saffronart’s winter auction in December 2010. (మరింత…)

Falaknuma Palace and Princess Esra శనివారం, నవం 13 2010 

The Princess diaries
Prabalika M. Borah, The Hindu, MetroPlus November 12, 2010

On the eve of the transformation of the historic Falaknuma Palace into a deluxe hotel, Princess Esra Birgin talks to Prabalika M. Borah on her efforts in restoring the Palace and her tryst with Hyderabad

Navigating through the Old City daytime traffic, we come to the right turn from the main road that leads to the Falaknuma Palace. The road seems to be laid for buggies and horses with trees on both sides. At the end of the road we reach Falaknuma Palace’s first security gate. Uniformed men talking over their walkie-talkies, let us in. After a short uphill drive we reach the Stables — the parking area. Here we go through a second security check and then take a comfortable uphill walk to reach the clock tower — the main entrance that leads one to the palace. The final security check is done here and then a golf cart transfers us to the palace’s main gates.

We walk up the stairs to the sound of the soothing piped piano music. At the right entrance is the Study. We take the carpeted steps. Marble statues on the railing and black and white photographs of the erstwhile Nizams, British residents and luminaries who visited the palace grace the walls.

At the end of the steps, Princess Esra Birgin greets us. “This looks straight out of James Cameron’s Titanic scene, where Jack waits for Rose near the clock,” we exclaim. “Indeed it does, but we will not sink,” laughs Princess Esra as she leads us to a study room through the Jade room. “This is all leather and wood, let’s talk in the Jade room,” she suggests. (మరింత…)

Pramod Ram Reddy – Telangana deities గురువారం, సెప్టెం 10 2009 

Telangana milieu on canvas

Pramod Ram Reddy’s exhibition at Minaaz Art Gallery depicts deities, life and people of Nizamabad

GPR Reddy Nizamabad

Sri Lakshmi

THE WIDE canvas of Indian deities has been an integral part of our system. On one hand, their peculiar imagery, clothing and unrelated colouring notwithstanding, people unquestioningly accept and revere them, thus making them a part of their lives, more so in the villages and rural areas.

On the other, these deities, as wonderful works of art – extremely imaginative and aesthetic, have inspired creative people in various areas to experiment with them – weave stories, make paintings, designs sets, perform dramas and make textiles.

Artist G.Pramod Ram Reddy presents his paintings portraying the ruling deities of Nizamabad along with a few others, apart from depicting the life and people there. In retrospect, Pramod experimented with bolder themes and an alloyed attitude concerning colour, design, composition and line.

The alluring result that got him noticed was probably his effort to be `real’ and his talent, despite the inevitable influence of Klimt.

In the present exhibition, the earlier spirit of adventure and influx of experimentation is replaced by a more reticent and mellowed attitude where the artist effortlessly exercised his skills in colour, line and composition. (మరింత…)

Kondapalli Seshagiri Rao – Artistic imprint of mythology శనివారం, ఫిబ్ర 28 2009 

Unsung, yet on a song






CAN AN 80-year-old person move on his own? He, perhaps, needs a stick or someone to take him around within the house. But, for Kondapally Seshagiri Rao, an acclaimed painter, not a day passes without touching paint or brush.

All the big names who are in news for their creative paintings are disciples of Seshagiri Rao, who has maintained a low profile all his life training hundreds of students. Though he received several awards and recognised the world over, Telugus know little about this maestro. Unlike commercial artists who are making a fast buck, Rao remains contended with what he has got in life. Having retired from the College of Fine Arts and Craft, he was happily spending his time painting and playing with his grandchildren.


“I have no remorse. My specialisation is mythological painting and I derive great pleasure in painting them,” he explained. On the fellowship given by the Lalitha Kala Academy, Seshagiri Rao has completed 16 paintings depicting the Kalidasa’s Abhignana Shankulam which is yet to get published due to fund crunch.


It all began when the Minister, Mehdi Nawaj Jung, in the then Nizam Government, who spotted the creative talent in young Seshagiri Rao, sent him to the Shantinekatan to perfect the art. Struggling hard in life, he joined the Government services as teacher and went on to be become Principal of the college.


His paintings were exhibited in London, the US, Moscow and at several corners of the country.

one of the beautiful works of seshagiri rao

one of the beautiful works of seshagiri rao



He was once recognised as the best painter by the Government of India. Rao specialised mainly in portraits, Indian painting, folk and mythological.

“I belong to Warangal and I learnt my first lessons from my masters here only,” he says proudly. (మరింత…)

Hunger for Color- Live Art of Chiluveru Manohar మంగళవారం, ఆగ 5 2008 

Art mart warms up to consultants


Debasmita Ghosh | TNN 

Akhadi kurta, a long sling bag and a miserably pensive face peeping out of an overgrown beard – is this the stereotyped image that springs to your mind when you think of an artist? Well, that may have been true some five years back, when the word ‘struggle’ was an accepted part of life for those who dared tread this path. Fortunately the scene now is far brighter, thanks to the increasing popularity of the Indian art. As the world opens up lucrative avenues in the form of art auctions and investments apart from extravagant art fairs, things are hotting up at the art mart. Considering the amount of money that is flowing into this field today, it’s just a matter of strategising to grab a share of this large pie. 

Claiming a stake in this are not just artists but also art galleries, promoters and the latest addition in the area – art management and consulting firms. Even as Hyderabad, with its myriad galleries, artists, curators and promoters, is gradually growing into a hub of art, there seems to be a battle brewing among the stake-holders. The artists who once struggled to put on display their works are now reaping the rewards of the competition between the galleries and the promoters to ‘market’ their works. 




However this sector still remains highly unorganised in India. In the absence of any monitoring authority or art council. Art consulting and management firms capitalise on this gap and apply management principles to give this industry a professional makeover. Gallery owners on the other hand are tagging such practices as nothing but “a mode of fooling people and making a fast buck”. They say that art consultation by managers, instead of trained artists, will only lead to promotion of undeserving artwork. “Earlier artists were aware of struggle but the fresh breed wants quick success. Art consultants would only focus on business aspects and would not hesitate to promote even junk,” says the owner of a prominent art gallery. Others, however, are maintaining a neutral approach to the whole affair. Nemiraj Shetty, owner of Hasta Art Gallery, says that a decade ago not all art shows were handled by curators but now curators have become indispensable partners. “Similarly, now art management and consulting firms are trying to get a foothold by being intermediaries between artists and galleries and other operations that involve a lot of money. Artists have to understand that while curation is an aesthetically designed activity, consultation is just a business,” he adds. 

Nirmal art & toys ఆదివారం, జూన్ 29 2008 

Nirmal Paintings & Toys



Nirmal town, nestled amidst hills and forests, is aptly called the ‘land of toys’.

Nirmal town of Adilabad occupies a leading place in the handicrafts map of
India. Specialty of this craftsmanship is the utilization of simple material which is available locally. These simple materials are transformed into exquisite crafts and art of great appeal. This art form originated in 14th century under the royal patronage of then ruling nobility. Nirmal craftsmen have earned reputation for their expertise in wooden engravings. A variety of Nirmal products in wood include furniture, toys, plaques, bangles, jewellery boxes, screens or miniature paintings.

The craftsmen use indigenous mineral and vegetable dyes for colouring their products. They even produce gold covers from herbal extracts. Experimentation of colours resulted in many transformations.


It is learnt that when this craft first started it was limited in its range. The first articles were based on figures and episodes from mythology and were purely art objects. But the dawn of 17th century saw a new horizon of this art form. The local talent advanced and articles of utility and decoration started to be manufactured. (మరింత…)

Rural Women & Lifeworld- paintings of G Bharath Bhushan గురువారం, నవం 29 2007 

చిత్రకారుడు భరత్ భూషణ్

– C B Rao

Inaguration of Exhibition Photo:cbrao

శుక్రవారం, 23 నవంబరు 2007 సాయంత్రం ఆరున్నర గంటలకు, మాసాబ్ టాంక్ లోని లక్ష్మన్ ఆర్ట్ గాలరి లో, ఒక విచిత్రం జరిగింది. ఇంతవరకు ఛాయా చిత్రకారుడిగా చిరపరిచితమైన భరత్ భూషణ్ గుడిమిల్ల, రంగుల కాన్వాస్ తో కూడిన చిత్రకారుడిగా పరిచయ మయ్యారు. ఈ మార్పు ఆశ్చర్యకరమైనా, ఆహ్వానించ తగినది. కొంతకాలం అనారోగ్యం, బయటకు కదలనీయక పోవటంతో, ఆ సమయాన్ని, సృజనాత్మకంగా, చిత్రలేఖనానికి ఉపయోగించారు భరత్ భూషణ్.

Bharath Bhushan at Painting Exhibition Photo: cbrao

ఓరుగల్లు లో పుట్టి పెరిగిన, భరత్ భూషణ్ కు బాల్యం నుంచీ, తెలంగాణా పండగలు, సంస్కృతి పై మక్కువ ఎక్కువ. బతుకమ్మ పండుగలో బొడ్డెమ్మ దేవత చుట్టూ గ్రామీణ యువతులు చేసే ఆట – పాట, రంగుల పూలు, పండుగకు భూషణ్ అమ్మమ్మ చేసే మిఠాయిలు, కొనిచ్చే బూరలు, ఇవన్నీ భూషణ్ మదిలో చెరగని ముద్ర వేశాయి. ఆ రంగుల పూల పై మమకారాం, భూషణ్ ను తరువాతి జీవితంలో ఒక మంచి ఛాయచిత్రకారుడిగా మలిచింది. బతుకమ్మ పండగ ఉత్సవాలపై వరుసగా నాలుగేళ్లు చిత్రాలు తీసి, పండగలో కాల క్రమేణా సహజ పూల స్థానంలో ప్లాస్టిక్ పూలు రావటాన్ని వేదనతో గమనించారు. బతుకమ్మ పండగ గురించి భూషణ్ మాటల్లో వినండి. (మరింత…)