A case for lost artists

BUSINESS CLASS

As the art dealers depart for the New York spring sales, they leave behind three marvellous exhibitions in Delhi: all of artists who could do with a serious revaluation. In a rapidly maturing art world, it's extremely important to revisit the works of artists who might have been overlooked for one reason or another.

Nature Morte has just finished showing small new bronzes and three hemp works by Mrinalini Mukherjee. Gallery Espace is showing Baroda master Jeram Patel's second attempt at his seminal Blow Torch works and new drawings. Vadhera is exhibiting the long-forgotten Paris-based abstractionist Rajendra Dhawan. The simultaneous shows by the artists have, indeed, given Delhi the long awaited breath of fresh air we look forward to each spring. Collectors are making the most of this chance to explore the works of some wonderful artists who have been away from the auction hype.

Patel is no stranger to the art world. The history of the much-acclaimed Baroda school is totally incomplete without his contribution. Together with J Swaminathan, Himmat Shah, Jyoti Bhatt and Raghav Kanoria (almost all in the forgotten league) he was the founding member of group 1890. Like Shah, Patel continued to price his works above what the market could absorb which led to the absence of his inclusion in many of the important collections that were being formed in the 1980s and 1990s.

Artists like Patel refused to court the press or go out networking in search of collectors. As a result, they have been conveniently sidelined by dealers and collectors over the last two decades.

Similar is the case with Mukherjee who is, by far, the most important sculptor of her generation. She has worked consistently since the early 1970s, experimenting with a variety of materials. However, she is most well-known for her magical, monumental "hemp works" made from jute. She represented India in landmark exhibitions such as "India Myths and Realities" at the Museum of Modern Art, Oxford in 1981, the Paris Biennale in the same year and the Sydney Biennale in 1986, among others. However, selling was altogether another matter. The show at Nature Morte sold just a couple of works.

Dhawan moved to Paris in the 1970s and joined the tribe of struggling Indian abstractionists like S H Raza and later Vishwanathan. But unlike Raza, who continued to keep in touch with his roots in India, Dhawan showed with a variety of French regional galleries managing just, perhaps, a show every decade back home.

Each of these artists has been ignored for one reason or another. Some didn't fit into the social climber mould, others were either temperamental or egoistic.Suddenly, serious dealers are beginning to take interest in these currently unprofitable artists. Critics say that the reason is that sourcing works which are in heavy demand is becoming increasingly difficult. I, however, give them the benefit of doubt. My belief is that the dealers and collectors are genuinely passionate about giving the art world glimpses of greatness which constantly needs to be re-examined in our fast changing social contexts.

Whatever be the case, the public clearly benefits. It is comforting to know that there lies a huge unexplored world of art that need not make headlines at sales room from New Delhi to New York. Dealers who continue to show such courageous works will be both rewarded and more importantly respected.