EDUCATION
- 1945-49 Diploma in Fine Arts, J.J. School of Art,
Bombay.
EXHIBITIONS
1952 Solo exhb., Galerie Saint Placide, Paris. 1953,
55 Venice Biennale, Italy. 1957 Solo exhb., Galerie
Ventadour, France. 1958 Seven Indian Painters, Gallery
One, London. 1959 Sao Paulo Biennale, Brazil. 1959 Tokyo
Biennale, Japan. 1960 Solo exhb., Painting in Grey,
Gallery 59, Bombay. 1967 Solo exhb., Museum of Contemporary
Art, Montreal. 1980 Retrospective, organised by Art
Heritage, Bombay and New Delhi. 1981 India: Myth and
Reality- Aspects of Modern Indian Art, Museum of Modern
Art, Oxford. 1982 Contemporary Indian Art, Royal Academy
of Arts, London. 1985-86 Artistes Indiens en France,
Foundation Nationale des Arts Graphiques et Plastiques,
Paris. 1987 Festival of India, Moscow, USSR. 1991 National
Exposition of Contemporary Art, National Gallery of
Modern Art, New Delhi. 2004 Manifestations II, organised
by Delhi Art Gallery, Jehangir Art Gallery, Mumbai and
Delhi Art Gallery, New Delhi.
COLLECTION
Art Heritage, New Delhi. Deutsche Bank, Mumbai. Glenbarra
Art Museum, Hemeji. Pheroza and Jamshyd Godrej Collection.
Ajay Lakhanpal Collection, Mumbai. Ministry of Cultural
and Scientific Affairs, New Delhi. National Gallery
of Modern Art, New Delhi. Jehangir Nicholson Museum,
Mumbai. Solang Padamsee Family Collection, Paris. Pundole
Art Gallery, Mumbai. Ursula Volmer-Hoffmann Collection,
Germany.
AWARDS
1965 Awarded JDR 3rd Foundation Fellowship, New York.
1969-70 Awarded Jawaharlal Nehru Fellowship. 2004 Lalit
Kala Ratna, Lalit Kala Akademi, New Delhi.
STYLE
Akbar Padamsee, since the beginning of his artistic
career, never wavered from his strength of line and
astute vision. His idiom, even as a very young painter,
did not succumb to prevailing conventions. Even as Padamsee
broke free from the accepted European schooled thought,
which was ruling the roost then, he maintained a classical
balance in all his work. The painters artistic journey
spans various phases. The early portraits and landscapes
were executed in a quasi-spiritual manner. Padamsee,
during his maturing years, began to internalise the
process and subverted the very quintessence of scapes.
They now turned into what is known in art historical
terms, as inscapes. This is one of the landmarks of
Padamsees career-graph by way of which, the artist plunged
into much deeper subconscious layers. His paintings
became increasingly multi-dimensional in that they could
now be read from a psychoanalytical point of view, besides
the other formal, aesthetic viewpoints, which already
exist
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