Born in 1939, West Bengal .Graduated in fine art from the govt. college of art & craft, Dhaka. Securing first and first Division in 1961.Further Advanced research in art Japan, France & Germany.Recently a Mansur Rahi retrospective that covered the period from 1957 to 2009 was held at the National Art Gallery.
While viewing Rahi’s work one is struck by the prevalent dichotomy. Conventionality as well as non- conformity to Cubism coexists within his artworks. So what does he borrow or reject from Picasso and Braque? Since his works are simultaneously imbued with these opposing attributes, a synchronized discussion is imperative. Cubism involves a fracturing of form along with its subsequent realignment into diminutive planes. A strong adherence to this is evident in works like The Thinker (1970) and the Wild Horse Series, while the series of drawings displays a certain degree of divergence from this standard.The later phase of Rahi’s career began in 1983 when he changed his residence from Karachi to Islamabad. He describes this period as rather peaceful and therefore his art shifts from a portrayal of struggle to one of peace as mountains, beauty and romance began to be depicted in his work.

Rahi’s paintings and drawings depict abstraction yet the visual imagery remains representational, which marks another difference between his early work in Karachi and his later work in Islamabad. Such dissimilarities are amalgamated through an essence of Cubism that runs through his entire body of work, creating interplay of opposites.

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