Sadanand K. Bakre

(1920-2007)

Untitled (Cityscape)

Footnotes

Provenance
Property from a private collection, UK;
Acquired from Nicholas Treadwell Gallery, London, 1968.

Grounded in academic realism, Bakre, like many of his contemporaries, embraced the transformative principles of abstraction, which allowed him to transcend traditional representation and explore innovative artistic expressions. By the late 1940s, Bakre had developed a distinctive style characterized by "free-flowing forms and unconventional shapes" (Yashodhara Dalmia, The Making of Modern Indian Art, p. 190). This shift was indicative of the larger modernist movement in India during the 1950s and 1960s, a time marked by experimentation across various artistic disciplines.

Bakre's move to London in 1950 played a pivotal role in this artistic evolution, offering him a fertile ground for further experimentation. During his time in Great Britain, he encountered a wealth of modern art that deeply influenced his work, including a strong connection with Vorticism. This early 20th-century literary and artistic movement, which flourished in England between 1912 and 1915, sought to relate art to the rapid industrialisation of society. The Vorticists, known for their dynamic and linear visual language, explored the fragmented nature of modern life through spiky, rhythmic forms, emphasising sharp angles over curves and hard edges over soft, capturing the energy of the industrial age.

In Bakre's work, the sharp, structured shapes and geometric forms resonate with the Vorticist ethos, reflecting the artist's raw, pulsating quality and his movement toward abstraction. The present lot is a fine example of this. In Untitled (Cityscape) there are bold, angular lines and complex layering, evoking the vitality of urban life. This particular work presents a richly textured scene of architectural elements, including arches, columns, and geometric patterns that recall both medieval and Gothic structures. While Vorticism critiques the sentimentalism of 19th-century art, Untitled (Cityscape) moves away from the harsh, rugged depictions of Vorticism that verge on abstraction and instead leans more towards expressionism. Its dreamlike quality and ethereal light introduce a softer, more contemplative atmosphere, creating a contrast to the dynamic, industrial themes typically associated with Vorticism.

In this work, the straight, geometric lines are softened by the inclusion of a radiant yellow sun at the top centre, casting an otherworldly glow over the city's structures. This element introduces an expressionist quality to the cityscape, as the composition's layered depth and rhythmic arches create a sense of harmony between the architectural forms. This dynamic interplay contributes to the piece's contemplative and almost mystical atmosphere.

Bakre's own words offer further insight into his artistic approach, 'I saw everything mathematically. Everything depended on three parts, not four, so it became a spike. Originally it was a tricone (triangle), and then it went on to other things. The number three struck me so, and when I painted another one, it did not give me satisfaction. It was a geometrical, mathematical phase. I felt the need to do this from some unknown experience of balance" (Sadanand K. Bakre, The Making of Modern Indian Art: The Progressives, p. 194). This statement reflects Bakre's deeply personal engagement with geometry, balance, and abstraction, which helped shape his singular, modernist vision.