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Khanna’s style is discussed by Norbert Lynton – the artist dabbled in abstraction but returned to representational art as a member of the Progressive Artists’ Group. This was a brief movement practised by artists striving towards modernity and challenged India’s caste-driven structure.
The artist’s work is placed in its biographical, historical and social context through the examination of several of his paintings among which are Flagellation and a series of bandwallahs (musicians) in the 1970s. The depiction of musicians has motivated two writers – Gayatri Sinha and Marilyn Rushton – to look at Khanna’s work in relation to the theme of music.
This book is the ﬁrst to combine an Indian artist’s monograph with the discussion of the socio-political context which motivated a generation of Indian artists.
Gayatri Sinha is an independent curator and art critic based in New Delhi. She is the author of Krishen Khanna: A Critical Biography, The Art of Adimoolam and Krishen Khanna: The Embrace of Love.
Ranjit Hoskote is a cultural theorist, independent curator and poet. He is the author of ten books. These include four studies of art and artists, of which the most recent is Baiju Parthan: A User’s Manual (2006).
Marilyn Rushton is a barrister-at-law and an academic with a strong interest in contemporary Indian art.
Tanuj Berry is a friend of Krishen Khanna’s and a collector of modern and contemporary Indian art. He has been involved with a number of signiﬁ cant projects and publications on many important Indian artists.
The Betrayal and Flagellation
The Secular Miracle: On Krishen
Khanna’s The Raising of Lazarus
A Stranger at Gyaniji’s Dhaba
The Blind King and
Note on Contributors
|Number of illustrations||116 colour illustrations|
|Size||8.75 x 11.75" (222 x 299 mm), hc|
|Date of Publishing||2007|
|Co-publisher(s)||Mapin in association with Lund Humphries|
|Rights Available||World rights|