Veda Art Gallery ExhibitionRecen:ri :: : : $**s ffirmndem ffif,m$Br*m - - Jagannath Bellad. li;.:: l'. ' L'Autoporttait d'un Photographe Lakshnri S and Shanl:. P (Self-poftrait of a Photographel others. Ongoing. Willy Ronis was onefew 1, Palace Viero Buiklit;9. photographers who appeared to Kumara Park Easl t-),1-" . Mon-Sat 11am-6Pnt. match the propensity ofthe French master artists to repeatedly indulge in making self-portraits, V@ withhundredsofphotographsthat I SoloshowRecent',r' :... : I heshotofhimself.fromwhenhe Satya Shivkumar frottt B:.:. =-. wasfirsthanded acamera, aged 16 l OpensonFriJul22.I-n:: :. :.' . in 1926, to one ofhim on a parachute Alsosee Gallery collect: .-.. jump atthe age of82. Kasturba Road (228b--= | As a novice at his father's studio Tue-\ot 1)atn-SPnt. in the mid-193Os, Ronis abandoned hopes of becoming an artist and a composer (influenced especially by i East the works of Bruegel and Bach), to gradually become a much sought- . Arakha The ongoingfestivalof films on or stone breakers and after-dinner after photographer, documentingthe Galerie Sara French master artists and gatherings, Courbet began Paris in particular, the city of - On displayWorks l--'. --- flouting rules of photographers, winds down to a systematically neighbourhoods of Belleville and Kudallur and Ball \i', ::: painting, close this fortnight with the academic objectives of M6nilmontant in the eastern side of others. Ongoing. following screenings. Fot details, political glorification, Victorian the city; areas that he recalls were 156.4thMain,BEllLL.: see Alliance Frangaise de Bangalorc conventions of composition, and spoken of as "the apaches' or ruffian ITPLRoad (41 16-262:'.' and Othetscreenings in Film. the norms of the era. quarters". Willy's images from the 10am-6pm. Even as his disdain forauthority time, of the sloped streets, inclines Courbet, Les Origines de Son Monde went unabated ("old imbeciles". and stairways that dominate those CauelyqVitania (Courbet, The Origins of his Worlq he called one panel ofjudges; years areas of Paris, have come to be Exhibition$'or"is:..' .' . Gustave Courbet's role as a man later he would deride Napolean as iconic, as many of those views stand Oosman, Rachna \at.r:-' .- . who turned the art world's gaze to "a cretin without a battle plan "), completelytransformed, with high- i MaityandVennimala: t subjects of sensuality cannot be Courbetwas soon heralded as an rise apartment blocks replacing see Gallery G. innovator, forworks such as : overstated. Works ofhis, such as churches and other landmarks, Viuantaby Taj, ITPLi, " L'Atelier du Peintre" (The Artist's "Le Sommeil" (Sleep)of two naked although, the localities continueto be Wne/ield(4095-755!' . a staggering, epic canvas, women entwined in bed, and Studio), considered "the embodiment of the Tlrc ttispky is on 2-1,7 "L'Origine du monde" (The Origin of about 2o-foot long, which he called city's working class soul". genitals "a real allegoryof aseven-year the World), a close-up of the One of the more exciting moments Gake-iierh-ildEy€ of a woman, willseem shockingeven phase in my aftistic and moral life". in Ronis's careerturns outto bethe - today, as brazen celebrations of raw Reactions from purists, denouncing time heturned down an offertowork : CulturalConnectiofls 1. - - ' carnality. Back in 1866, when both his art as a " pursuit of the hideous" with the American publication Llfe, to i An exhibition cllr-ats- : those paintings are made, Courbet's and as "a repulsive study of instead focus on the social subjects i Khanna,ofpaintittq.' - , : : - . reputation took an irredeemable provincial trivialities ", on ly spu rred of France. In the mid-to late-1930s, JoladandSudeep\h: : others.Until SunJul ;1- beating, as an appalled French art the iconoclast in Courbet. Ronis began to chronicle workers' Soon, his works began to be : Colours&Hues.:.. world damned the defiant eroticism in struggles in Paris, deplorable i recentworksbt liat.:'- . : work. Courbet was no longer a accepted readily by exhibitions. aspects oftheir work conditions, his : Mandaland Rittta Rl, ' : ' just as critics trashed his seemingly period of social =' ' pioneer of realism ; he'd turned and the subsequent Aug 1. Unril \\-ed .\ :- J unrefined sensibilities such as with revolutionary, as "a painterof desire, - upheaval, resulting in some of his , call98455-85235. "The Bathers", a portrait of a naked : and pleasure". more celebrated shots, such as from A-1 , EPsilott. Yttttt'r' .". out of a pool of water. ' But Courbet was always intent on lady stepping a Citroen factory strike in 1938 (in pic 1 (4 1 64-0J 71 )..1/,'rt't.' de!ing convention, and sParking In a letterthen, Courbet seemed above). lnadvertently, Ronis's : Sutdaysb-t aPPoitt:ti "'The ' outrage. As the film reveals, stringing incredulous: Bathers' has aesthetic compositions also played : tt:ru tturctey-nrt.n together a lifetime's collection of appalled people," he said, adding, a crucial role in getting purists to personal correspondence, the artist, "Although, I have added a piece of considerthe medium of photography Vermilion House " : from an early age, sought to find cloth on the buttocks. Courbet as a form of artistic expression. As I Portraitsfromthe Pd ' success in scandals ofhis own dubbed the time as "the end of Ronis himself offers, as partof a exhlbrilonolpalI]t:'.-- . (he says in a letter, "The day romanticism", and by his own series of interviews in the film, making i Gopalan.co-h".trCl . :' I I shall no equations, his success would pictures was the closest am no longer criticised, composing , andShashikalaR;,' f': perhaps be best captured in some music. -.'' longer be important" ). ln his early- thing, for him, to scoring sheet , shnu's'ill go to, .r:,: ' . .- - in Paris, Courbet decided to ofthe personal attacks on his ln frequently shooting pictures from twenties , Iui29.Lntil Sat TLtl r' character: "that famous monster, : work on large paintings, a format an elevated position, he was able to, ,?, l2.CLrtlntlk.:- born from the decay of Herostratus", normally reserved for historical in effect, reveal "different planes T,ttrtt rJll-'--\'," . works. ln choosingto focus on as one critic called him. Yet, his from the bottom to the top of an more prosaic subjects, such as the achievementwas to democratise art; image", he offers, adding, "lt is rather funeral of his grandfather (forthe to, as he put it, bring art "down to the like the three or fou r melod ic strands masterwork "A Burial at 0rnans"), low life" . JaideepSen (52 mins) of a Bachfugue."./S(55 mins) North The Sublime Galler[a host a collection of recent works b1' i';z*:- *.r*'a,..r. Gallerie Pablo Aamina Shazi. Sharma. .\nrnsh -\mit '- Open ingl Fol l,'nvin g' r.tp on th e \[a]va::kar-. \lesL,'-a ob::', r. \l\ The Taste of a Collector -:- Exhit*tion >. - - -_-: \-!.