Logbook of an Unknown Artist | Paintings Of Animesh Roy

Logbook of an Unknown Artist | Paintings Of Animesh Roy

Art of Animesh Roy Please keep in touch with my Facebook page: www.facebook.com/animeshroyartist Still Life with plate o...

Tuesday, December 31, 2013

Praktiker, Spading Fork & 15%

Praktiker, Spading Fork & 15%

Huffing and puffing I just managed to reach the mega store Praktiker...
I was told last time they give 15% off on the last 3 days of every month... Today being the last day of the month, was my day!!
I had missed it last month and today I had to buy that 'spading fork' for my garden and a PVC pipe for painting shipment packaging.
As I entered, only a few minuets were left before closing.. (They were closing early because of being the last day of the year)... I notice a coloured pamphlet.. My knowledge of Polish is scholarly... so generally I keep my eyes on the pictures or numerical (they use Roman). I could see a picture of an old-bearded-man and something about 10% written in large font... Anyway I had no time so I went straight to the gardening section and picked up a all metal spading fork.. a more reliable and hardy than the last one.. I recently broke one of it's teeth!! Being an expensive item, I have been biding my time... clutching this I went to the nearest counter and tried my best to explain about the promised 15% off' and how much I should now pay for this fork etc. The lady kept saying something and shaking her head disapprovingly which I couldn't understand... then she told me to go to the information desk...sometimes one can find someone who may know a bit of English.. 
There were many very busy looking men, the shop was minuets away from closing... I asked if someone speaks a bit of English... and started to explain...
One said smilingly 'yes 10% you can get but you have to be 60 years or more!' That's what the 'sale pamphlet' says!! And they added in good humour 'I don't look the part!!' 
I argued 'I was categorically told last time that they give 15 % discount on anything on last 3 days of every month' etc. And nothing about 10% for senior citizen etc!!  But they all disagreed! The 15% was only for last November. Somehow in my last visit I must have misunderstood.. It happens all the time..
I was really crestfallen... I had take time out to come on a cold frosty December evening.. .The spading fork and PVC pipes were something I really needed. Anyone who does a bit of gardening would know it is the most used tool !!
Then out of the blue one of them.. Maybe with psychic power came forward.. or he may have somehow realised मां लक्ष्मी*'s intense dislike for me! He asked if I wanted to buy anything more as they were about to close.. 
I told him: 'PVC pipe...!!'
'Go and get it' and started to scribbled something on a note pad... 
He said...  'He was the manager and he would give me the 15% discount even though it wasn't official'!! 
As today was the last day of the year and he wanted to end it for me and for him on a happy note!!

Thursday, November 21, 2013

ঐশ্বর্য, लक्ष्मी & AAP

"में तो पवित्र आदमी हूँ इस मामले मे…"  — डॉ. कुमार विश्वासׂ٭

माँ लक्ष्मी / Maa Lakshmi   

लस्मी से परहेज क्यों?!!

Hate for Maa Lakshmi* or Kuber** is alien to our Hindu culture... Both are revered and we are proud of them.
There is a Bengali/ Sanskrit word 'ঐশ্বর্য ' we use all the time.. (I don't know what is the equivalent in Hindi...) in both abstract and real from for wealth and value… 
'ঐশ্বর্য ' means a lot things: wealth, riches, state, pomp, supremacy, majesty, attribute of divinity etc... 
But due to long years of Western ideas and concepts (read Communism, Socialism etc) many of us have changed and anything to do with money profit is considered an evil... From this unreasonable hate and fear and shame has risen many foolish hypocritical practises in our contemporary Indian life and here are few examples, anecdotes.. Some which happened with me and some I read or witnessed etc. 
There was this audio tape of Rajneesh I had got hold of from one of friends during my Art college days... and in there Osho very succulently explained this hypocrisy among the sel proclaimed pious men of god... A devotee wanted to gift some money to his Guru/God-man, the Godman said he can give the money, but to handover the money to his assistant/close devotee etc. as he doesn't "touch money"... Reason being it is पाप/sin, it pollutes! It is dirty! When Rajneesh asked, but doesn't he worry that his beloved disciple is dirtying his hand for him!!?
The legacy of this anecdote has continued to this day!!
Unless one has clear cut idea of what is wealth and money etc. this will continue to haunt us!! Many business families (here caste system helps.. the business class teaches' their children value of money from a tender age etc) They have no such qualms about wealth and money..and thus we have a Lakshmi Mittal*** - one of the richest man today!!
During Gorbachev's visit to India...his wife Raisa was taken around our National Museum in Delhi... and 
on seeing and being introduced to Kuber, remarked: "oh he must be an evil God/man etc"!!
Coming as they do from the back ground from Communism, it was but natural for her to perceive Kuber* as someone as plain evil... 

Here's one more anecdote from my life:

I meet him years ago on my first visit to Poland... Instantly he struck me as someone in a hurry to pitch his tent in EU by any means!! He was actually trying to do so and made all possible moves to get his beloved green card!! Anyway that's not my concern... Much later when I moved here I gave him a call (he being the only Indian here). But on the phone he appeared extremely cautious, unfriendly, in a hurry to hang up... Thereafter I never ever called him... Getting the feeling he was worried that I may ask him for some kind of 'help', as I was new there. Then one day, out of the blue, few years back I got a call from him... And the conversation went typically like they do when one meets someone who is busy pretending:
"आरे भाई, where are you? what are you doing? why don't you call/keep in touch... blah blah..?!!" 
I replied quietly: "In 'his' town..."/ "आप ही के शहर मे…" He informed me rather proudly he was now working as lecturer/teacher in the art college or in some institution !! How a person with a "call centre" qualifications can do so I don't know!! But then I know too... Anyway he wanted me to come and give some lecture to "his students"... I agreed and asked him about remuneration... And he appeared "shocked" and said he wasn't expecting this... The institution may not pay so may be he will pay from his pocket etc. I quoted my fee based on what I was paid recently by an organisation etc. for a similar lecture etc. He said if I could reduce etc. and email him the details. I did... and also added taxi fare/transportation as I wasn't sure of reaching the place on my own.. His reply was as expected like this: "I am shocked and hurt… didn't like the way you asked me for money... fee and taxi fare/transportation!! See this is for the students, for their good, so I thought you will agree to do it free and give them a lecture about India/your art etc. etc!!" I of course replied citing some imaginary reasons for my inability to do the lecture and thus ended it there!! The thought which I didn't convey to him is: 'Why doesn't he work free for those very students?!!' And how come he has taken up such a job with salary for which he has no qualification, experience or merit?!! When it comes to money, we go rather hypocritical... Especially if it's other person's share!! 
I remember when I started my life doing 'design work'.. There was this 'middleman' who would get work from "his clients", for me to design etc... He would be euphoric when he could corner a big project... But the day I would present my bill, he would blow his top and turn into a raging bull!!! 

During my long years in art and designing etc. I have meet innumerable people who would come to me to get their company brochures, visiting cards, books, publicity material designed and would always add,
"This is for charity, For a non-profitable organisation etc. So basically I should not charge anything for some "creative inputs"!!
Most would be offended when I would like to discuss the money matter... Most got rich, built houses and bought cars, all from those very non profitable ventures or funds got from Western countries to run their NGO etc.
Many would ask paintings as gifts or at a very low price to "help" in some cause!! Which is alright but if you dig deep, which i have you will find all them getting their share and it's only our share which is discounted!!
Sometime back everyone went after Nirmal Baba!! His guilt was he was charging money in a very matter of fact way...
All men of God do that but they do it stealthily... hypocritically!!

Osho too was blunt and honest... and many couldn't handle this straightforwardness and simplicity about money!!
Can theses Gurus (or nay of us) last a day with Maa Laxmi?! Generally I have seen the guilt attached to wealth over weigh them down...
Sri Sri Ramakrishna had famously remarked "মাটি টাকা, টাকা মাটি..." 
But he actaully really gave lot of respect to money/wealth... If one reads him one can see that nature in his life... This remark is of a more of philosophical, spiritual nature!! But is many a time miss interpreted!!
I am sure he is not be blamed for most Bengalis' love for Socialism/Communism... He was much before Marx arrived in Calcutta/Bengal!! Many scholars have inferred, Partition being the reason for most of them getting disillusioned by Hindu religion and in desperation turning to Marx or anti God, anti Wealth.

Recently I finished reading শঙ্কর এর  'কামনা বাসনা'****  (Shanker's "Kamona-Bashona")... a brilliant and accurate account of wealth, desire, aspiration etc.
If one research a bit one see behind the success of many (Gurus, Artists, Social, political leaders etc.) there was always a wealthy patron: businessman/business house etc. who quietly took on the burden of the finance of these men. Without their money from his devotes from the West, Vivekananda would not have set up his large Ashram in Howrah!! So did Sri Aurobindo, Gandhi had a Birla, list is endless...
But then most forget that money / wealth plays such an important roll in their life and success...This such a ungrateful act!!
Now to the most recent anecdote is from the sting operation on AAP (Aam Aadmi Party)***** leaders!!
Watch how one of them, youth icon of the nouveau riche:
Kumar Viswasׂ٭ refused to acknowledge the money or take it personally with his hand and lets his PA do the job.. Saying famously he wont touch the money, he is: "पबित्र आदमी" (sacred person) when it come to money!"
In direct contrast are those innumerable, very poor manual labourers, workers (in India) most are illiterate.. like our maids, carpenters, plumbers, janitors etc. when you pay them they would invariably always touch the money to their head.. a kind of प्रणाम/ pranam as mark of respect!!
Strange for a culture like Hinduism, where we have designated God and Goddess for wealth, money etc. And most houses would have a picture of Laxmi and every Indian prays to Laxmi everyday!! 
And on Diwali... NASA pictures show India is shinning like a jewel in the night sky.... 
People keep their house lights on and lit extra lights to welcome Maa Lakshmi...

Thursday, September 5, 2013

Annapurna: The Art of Eating

My friend Ania and Kamil's daughter Tyńcia enjoying my cooking: Puri with aloo matar!!

One of my earliest memory from my childhood was to eat properly... more importantly to finish the meal.. coming as I do from a poor family... Wasting food was out of the question but a child can sometime take more than he can mange to finish!!
My sister was a poor eater but me and my elder brother ate ravenously... Our mother would always encourage us: "Let's see whose plate doesn't need washing today" We would lick our plate off and compare each others skill!!
I have maintained that habit and can't waste even a single grain of rice on my plate... This of course affects my appetite when I see people waste food on their table...
When sometimes I visit church on a Sunday Mass, I have noticed how beautifully, elaborately the padre would gather every little crumb and drops of wine... Polishing off the glass and plate off wine and bread... Reminding me of we two brothers at our meager meals... many moons ago.
Food/grain or Anna is revered in our Hindu Culture... A wife or a mother's kitchen should always be full of food stock... Annapurna etc. and the kitchen Annapurnaar bhandar... Even when rice finishes in stock, Bengalis would never said so but would prefer to say 'rice has increased..' meaning otherwise!! 
Recently I befriended a large group of migrants in Europe.. from Nepal, a small Himalayan Hindu Kingdom. A very poor impoverished country... many of the work-force in India also comes from Nepal. They invited me to their house for a Nepali 'dal-bhat' (lentil and rice)... I was too glad to oblige. I know something about the taste of their dal-bhat.. Having travelled and trekked there...

 अन्नपूर्णा (Annapurna or Annapoorna )

As is the custom with simple people they treated me with a sumptuous meal of dal-bhat and vegetables. I dipped my fingers into the hot luxurious rice and dal.. polishing off my plate, enjoying 'home food' after a long-long time...  But this was short lived as I watched in horror; as my Nepali hosts got off one by one from their seats, with their plates still full and dumped all its content in the waste bin in the corner of the kitchen!!
I was flabbergasted!! Later I took aside one of them, whom I had become close and asked why did all of you throw so much food?! His stuttered and replied: "Oh... we, we ..actually if we finish our food it may show we come from a hungry poor family/country!!"
So much for Annapurna*!! And its old culture!!

माँ लक्ष्मी

*(Annapurna is a Sanskrit name which literally means "full of food" (feminine form), but is normally translated as Goddess of the Harvests. In Hinduism, Annapurna is "... the universal and timeless kitchen-goddess ... the mother who feeds. Without her there is starvation, a universal fear: This makes Annapurna a universal goddess ... Her most popular shrine is located in Kashi, on the banks of the river Ganga." Her association with the giving of food (wealth) led her in time to be transformed into Lakshmi, the Goddess of Wealth. etc. Courtesy wikipedia.)

Annapurna is also the name of the Himalayan peak at 8,091 m (26,545 ft)... in Nepal!!

Thursday, June 27, 2013

Sold Paintings: Paintings of Animesh Roy acquired by Art Collectors across the Globe.

For any sale enquiry etc, you may contact me on my:





Oil on Linen
15.7x15.7 Inches
26-27 June 2012

River & A Boat
Oil on canvas
78x48 inches
Oct 2009

विरह (Awaiting-2)
Oil on Canvas
73x60 cm
28.7x23.6 inches
Nov. 2010
विरह /'Awaiting-2' is one of the nudes from a series that I have been working on for over a year now...
Landscape with Cart
Oil on Canvas
20x18 inches
Oct. 2006
Red Road with Blue Pond
Oil on Canvas
50.8x45.7 cm
20x18 inches

Yellow Flowers in Vase
Oil on Linen
16.1x13 inches
Oil on Canvas
38x28 inches
Oct 2009
This was created in the tranquillity of my studio and also larger in size than my "plein air" (open air) works. I have been deliberately shying away from painting lotuses and lilies for fear of being unfairly compared Guru Monet!
Oil on Linen
28.7x21.3 inches
Autumnal Forest
Oil on Canvas
50x40 cm
19.7x15.7 inches
Dec 2011
Painted on Location
Oil on Linen
40x40 cm
15.7x15.7 inches
Sept 2008
Painted on location from the banks of Warta river, Poznan.
Painted in Sept, I would go back in winter to the same spot...
Oil on Linen
10.6x13 inches
Sept 2008
Poznan, Poland
Painted on location from the banks of Warta river, Poznan.
Painted in Sept, I would go back in winter to the same spot...
Cattle on Yellow Fields  Oil on Canvas 38x24 inches


Waterscape Reflection
Oil on Canvas  
52x20.1 inches
Feb-March 2008
House with Yellow Roof and  Line of Trees on Farmland
Oil On Linen
68x68 cm
26.8x26.8 inches
April 2012
Irises in the Garden
28.3 x24.4 inches
Oil on Linen
June 2010

Wheat Harvest Early Summer Noida Villages
Oil on Canvas
15.2x15.2 inches
April 2008

LotusOil on Canvas
29x28 Inches

74cm x 71cm

Oct 2009

Wednesday, May 15, 2013

Critique on Art of Animesh Roy

Critique on Art of Animesh Roy

Krishna Chaitanya, The Hindustan Times, New Delhi.
Suneet Chopra, The Hindustan Times, New Delhi.
Santo Datta, The Hindu, New Delhi.
Keshav Malik, The Times of India, New Delhi.
K. L. Kaul, The Statesman, New Delhi.
Seema Bawa, Pioneer, New Delhi. 
Shekhar Mehra, Herald, New Delhi.
Vasantha Iyer, Mid Day, New Delhi. 
Manasij Majumder, The Telegraph, Calcutta.
Kishore Roy, The Statesman, Calcutta. 
Dnyaneshwar Nadkarni, The Pioneer, Mumbai.
Chitra Sardesai, Mid-Day, Mumbai.
Madhur Tankha, The Hindu, New Delhi.


Reviews in the Press

The Year of The Image-Maker, Triveni Gallery, New Delhi

And it is often a simple image, like that of Animesh Roy’s The Fall that I saw at Triveni Gallery, that perseveres, as it bridges the gap between matter and ideas, between texture, line and images, and leaves one with a feeling that one has experienced something that reminds one that ultimately it is not people who are immortal, their actions are.
Suneet Chopra
The Hindustan Times, New Delhi. July 30, 1994

Exploring The Medium, M.E.C. Art Gallery, New Delhi

Over the past two decades acrylic, the aqueous medium, has lent itself to a wide range of use by painters, often replacing the oil. The transparent watercolour is not pliable for the slap-dab, thick impasto technique, nor is the opaque gouache, another aqueous medium, capable of retaining the kind of thickness the painters want for speedy gestural brushwork. The varying thickness of acrylic paint can create a lively pattern of surface tension parallel to colours and their varying values. It looks very much like the oil paint, only much cheaper. Some painters can achieve highly consistent and uniform colour filed with acrylic, which is not that easy in transparent watercolour, and gouache will often leave marks of the brush bristle. That is another extreme of the use of acrylic colours.

The 40 medium-small size acrylic landscapes of Animesh Roy, now on view at the M.E.C. Art Gallery, 70B, Khan Market, show the young painter’s control over the medium, and his profound concern for the effects of light on nature. He has titled the present series — his first solo show in the Capital — ‘On the Roads’, and most of the landscapes were painted on location: The deep woodlands, the forest path lighted up by the sunlight seeping through the leaves of tall trees, the dramatic diagonals of dipping slope sheltering a few wild flowers, the rough stone boulders, and sometimes little towns on mountain tops. Animesh brings in lively linear patterns of light, which also define the undulating topography of the land, with the butt-end of the brush, displacing the thick layer of paints — a very familiar technique even with artists who paint in transparent water colour or in oil.

What is important in the landscapes is the total avoidance of any photographic references which we often note with dismay even in paintings of highly rated watercolourists. He paints with a breezy brush, loaded with thick paint catching the ephemeral poetry of colour and light through changing seasons in the woodlands. And he varies the direction of brush, sometimes in quick diagonals which mix grey, blue and black only to throw up the fleeting colours of wild flowers in hasty horizontals making the landscape almost semi-abstract. Evidently he is still exploring the pictorial poetry of the inspired impressionists. But in some paintings, of instance, the Red Road and Sunlit Path, his treatment of colours shows the early expressionist painters’ mystic awareness of colours which often sent out to them signals of deeper psychological import. Strangely, when he paints the familiar geometry of small towns, Animesh seems to be rather heavy-handed, if not ham-handed, in wielding his brush and his perception of colours suddenly focuses on the drab and the insipid.
Santo Datta
The Hindu, New Delhi. October 5, 1992

By using acrylics straight from the jar without dilution, Animesh Roy (MEC Gallery) gets the thick impasto effect of oils and he has painted some delightful woodlands scenes, the foreground tress in clear detail, the background a warm flush of colours.
Krishna Chaitanya
The Hindustan Times, New Delhi. October 11, 1992

Animesh Roy is plucky. He travels, and transcribes the visited places on paper or canvas, in acrylic. Since these works still lean on nature in a big way, they are essentially descriptive. But as descriptions they stand well. Thus ‘Dark and Deep, Autumnal Woods’ (inspired by Robert Frost’s by now beaten to death lines), as also the works suffused with pollen yellow. A good beginning, the artist should now muse on the types of landscape there may be. Then only shall his work grow.
Keshav Malik
The Times of India, New Delhi. October 22, 1992

Evocative Acrylics on Paper

Animesh Roy’s acrylics on oil sheets and canvas on view at MEC art gallery, evince interest for the young artist’s vertical horizontal and diagonal approaches to composition. He is able to capture the essential inclinations of the character and terrain of landscape, to highlight its structural rhythms in an integrated combine of woods and rocks, harmoniously blending with scattered flourishes of flowers as though arranged by nature’s own impeccable moves. The work is marked by a sense of exploration as much as by revelation, which is indicated by suddenness of the find.

Animesh has a very sensitive soul and an eye for the soulful in nature, even if it is only pretty. The roadside finds are small little treasure troves that suddenly captivate the eye as you turn the bend in a hill road, opening out new and ever changing amplitudes of valleys, the down-going dimensions of declivities. Since, in all his compositions, he has remained near the road, there have been no stirrings of the mysterious, the sombre and the elevating. What he captures is the scale of the inner amplitudes and nature’s own method of setting off one colour against the other.

Quite often there is an effort to create texture, particularly where the brush leaves its own mark on the paper. The tempering of colours, greens, yellows and oranges with blues competently generate a specific mood. Collective rhythms capture his heart as much as dignified individual gestures: the joy of a flower enjoying its lone splendour, its true being in the wider spaces to which it relates without difficulty. In works such as these, one notices the first intimations of metaphoric content of poetical quality. His works hold promise.
K. L. Kaul
The Statesman, New Delhi. October 21,1992

Study In Contrasts

Thematic realism coupled with an imaginative treatment dominate Animesh Roy’s paintings.

His work is a world of contrasts woven around the juxtaposition of warm earth colours cool dark colours, of sharp light and shade, of movement versus stillness. Violence versus serenity.

The charm of his paintings lies in not aiming at capturing the grave profundity of life. His paintings have the allure of a somewhat star portrayal.

The Autumnal Woods I and II are a study of light and shade. The white and brown tree trunks with their dark green foliage make an effective foil for the lemon yellow fore-ground interspersed with orange. The effect created is not that of soft, dappled light filtering through the trees but the dazzling light of a clear day.

These are Animesh’s more effective impressionist works. It is to the artist’s credit that he has handled such strong colours so sensitively that the contrasts never turn into conflict. The hectic energy witnessed in these paintings is missing in the Tropical Bird Flower whose lush greens build up an atmosphere of tranquility, and a moist cool fecundity. Lane I and II are the depiction of the same composition in two modes that the artist has created through the use of two different treatments. Both are a portrayal of semi urban life of a road passing through red roofed houses. The focus on the lane is emphasised by the two figures walking on it. Lane I has a rather deserted lonely look of cool dusk about it through the use of darker colours and lengthening shadow painted with even, soft brushstrokes while Lane II uses thick coats of uneven strikes — vibrant colours bursting with vitality and energy.

Crimson and pink break through the green and brown undergrowth around the small stream in Brook II. The judicious use of otherwise overpowering colours like crimson, by the artist, relieves the oppressive gloom of the thick growth. Animesh utilises oil colour technique to produce watercolour effects with acrylic colours in the waterfall.

The vividness of the artist’s pallets emerges again ‘in the Yellow Wood, a study in yellow, green and orange of fiery light permeating through the whole forest, reminiscent of unrelenting summer months of baked earth, dry leaves and blinding sun. The road path is an idiom that is repeated throughout the selection on display as in In the Woods, Untrodden Path and the Red Road. In the latter, the artist has tried to reduce the composition to two images painted with minimal brush work though not lacking in colour. The concept of the painting is interesting in its simplicity but its handling leaves much to be desired.

Animesh has shown amazing maturity in his treatment and imaginative conception. He has stuck to a simple but effective compositional structure using colour for balance. The highlight of his work is the skill with which he has used texture to create the environment, using uneven strokes with thick colours for the creating contrasts and movement, a technique specially useful in acrylic, his chosen medium. He has reserved gentle brushwork for every few of his works that emphasise repose.The young artist shows a lot of promise in the treatment of uncomplicated themes, infusing them with energy and movement.
Seema Bawa
Pioneer, New Delhi, July 30, 1992


Lost In The Green Countryside

Very many factors have gone into making the young artist feel so strongly about nature. In nature he is as much attracted to the awe it evokes as to the peace it provides. A raging thunderstorm is as attractive as the quiet that follows. And this is what is effectively conveyed here in acrylics on canvas and oil sheets.

An exhibition of painting by Animesh Roy was recently put at the Capital’s MEC gallery. Called On the Roads it consisted of some 40 odd works which the artist accomplished in the last three years while travelling through countryside. Roy is a painter in mind and a poet at heart. Lot many of his works here are influenced in theme and titles by poetry in English, though not all flow as smooth. Autumnal Leaves I is a fine work. Here nature is in fury. The raging storm is uprooting the smaller of the trees while the larger ones are just about able to withstand the impact. This is brought about by casual and thick strokes of dark brown, yellow and green. In contrast is another beautiful work Lost in the Green I wherein nature has laid out a carpet of green all over, with a few small white flowers twinkling in between.

These small white flowers are a favourite of Roy’s and he has put these to good use, particularly in Left Blooming Alone series and In Between. Occasionally the white flowers are replaced by orange ones, to an equal delight. The Pathless Woods is the heart of a jungle. There are blue sky yonder, with shrubs to the front and a few trees being gently ruffled by the blowing wind. Except for the irritant of a few red spots the picture captures the essence of the wild wood. The shades of green and brown are very effectively used. Red interferes even in an otherwise good work called The Brook II and to a great extent ruins the uninspiring Coconut Trees.

Lane I and II are deviations from the rest of the works here but are interesting compositions. The impression is that of an uphill countryside, quite desolate. The focus on the lane (I) is brought out by two figures walking on it and what seem to be deserted houses alongside. There is an eerie quiet about the place brought out by contrasting colours and lengthening shadows.

Roy’s works are marked by a definite spontaneity; an impulsiveness, which probably explains his choice of medium — acrylic. He finds oil tedious. Besides he’s essentially an outdoor artist — most at home when out of home. With acrylic you just ‘dip in and splash’, he says. This was his first solo show and one looks forward to more.
Shekhar Mehra
New Delhi Sunday, Herald, New Delhi. October 18, 1992

On the Roads

Animesh Roy took his first degree in the Fine Arts from the Delhi College of Art, a couple of years ago. He has lost no time in getting ‘on to the roads’ to observe life, absorb experiences and just as swiftly hold his first soslo exhibition at the MEC gallery in Khan Market. “I love travelling and there are very few picture places I have not seen,” says young Animesh proudly. His paintings, in sombre, acrylic colours and framed and priced moderately, zoom in on a little mauve flower or a string of white orchid blooms amidst a background of mild cerebral abstraction and fairly dense sanguine, wilderness. These belong to the series captioned ‘Left blooming alone’. Among the other compositions, if you search, there will be a pencil thin silvery stream or one that is choked by Chinar leaves. Animesh has trekked far and wide drunk of breath taking Himalayan scenes. No 12 is ‘Lost in the green’, but nowhere is Animesh lost or fumbling. His grip over the brush is firm and the colouration deep and disturbing. His palette knife has inured the credibility of texture and from of the rugged terrains that Animesh Roy has traversed.

Reminiscent of his southern sojourn are two vivid compositions of close ups of clusters of robust coconuts against palm fronds that splendidly fan out in burnished reds like Diwali fire-cracker display.

‘The red road’ is just that : red. Depicting violence? “Actually, in some areas in Bihar the mud is bright red. I just painted that.”Another composition of brilliant red foliage was also something the young painter had seen in Himachal. Animesh Roy has participated in many group shows and his water colours are now on display at a gallery in Jor Bagh. He prefers acrylic because he cannot change his mind as the paint dries fast! He is interested in photography and design. Animesh Roy is a very promising artiste and may quite confidently venture into a little more abstraction in from and theme. His 47 compositions on display at the MEC gallery are proof of the youngster’s enormous talent.

Vasantha Iyer
Mid Day, New Delhi. October 10, 1992

Group Exhibition at M.E.C. Art Gallery, New Delhi

One of the highlights of the exhibition are the work of Animesh Roy. His series On the Road carry the artist’ fleeting impression of a journey in the country. Strong sunlight filters through the trees and spreads out on the metalled road, with a blurred effect that give a sense of speed, somewhat like the Impressionists. White flowers in a bed of green, emerald green leaves and flowers in grey demonstrate the artist’s complete mastery over the medium as well as his fine sense of the whimsical.

Seema Bawa
The Pioneer, New Delhi. August 7, 1992

Images From The City And Woodlands

Triveni Gallery, New Delhi

Animesh Roy’s main focus is on landscapes far away from the city where individuals get lost. His pen-and-ink drawings of miniature size and his paintings in the aqueous mediums like the transparent watercolour and acrylic are now on view at the small Triveni Gallery. Of all his exhibits, the postcard size drawings with micro-tipped pen are perhaps the best. In fact, they stand apart from his other works for their simple but sure-handed linearity and a fine sense of design. For instance, in the drawings of small mountain villages, the narrow, meandering rustic lanes between the tin-shaded cottages show a quiet milieu of intimate domesticity, all seen from a height. The diminutive human forms make the white of the lanes alive, particularly when deep, hard-lined shades of the roof-tops frame them from different sides. In these drawings Animesh avoids detailed suggestion of the grandeur of the mountains.

It is the restrained human measure that makes his mountain scenes attractive. In the other paintings in mixed media, Animesh seems to be going through a restless phase of transition. His earlier proficiency in painting landscapes in transparent watercolour, detailing sharp breaks in shaded and lighted areas are gradually moving towards an abstracted expression of forms and colours in the landscapes. In a predominantly green landscape the young artist uses breezy brushwork charged with acrylic paint, and the whole scene is given a stormy diagonal movement. Pleasing no doubt, but in other paintings on high-grained hand-made paper he lapses into amorphous mix of transparent paint-smudges on the wet paper surface, depending more on the happy accidents that usually take place when the brush is heavy with watery paint and the paper is already wet.

What we see in his miniature-size drawing is slowly getting lost in his ardour of ‘modernisation’ and modish ‘abstraction’. The point of my detailing this kind of inconsistency is to bring home to the artist that he must not follow what other artists are doing for painting ‘modern landscapes’. Only when his own perception of world around him will change, his technique will also change if he goes on working and being truthful to his subjective response to the scene.
Santo Datta
The Hindu, New Delhi. July 15, 1994

When Light Vocalizes the Inner Intent

Animesh Roy’s present crop of work at Triveni Gallery makes a departure from what administered the driving force into his art machine in the execution of landscapes previously: a sense of freshness, gleeful discovery, sudden revelation. That was work governed by fresh responses to a hill scene as he moved through it. You don’t find that cluster of flowers thrown by nature’s own hands under a rock; or that green pleasance, the overhanging rock wearing a grassy knoll as though it was its cap and the bend that indicated the interminable character of the land. The present work also seems to be the gift of a journey, particularly the linear drawings depicting architectural rhythms of the dwellings of hill folk in Himachal Pradesh. The notable thing is that without bringing in the human folk the young artist manages to suggest the typical ambiance of life rhythms that inhabit these structures, reflecting both its openness and warmth and closeness. The impressive landscapes are those (No.1) where the young artist captures the land, sky and atmosphere in states of unison. As a compositional necessity the terrain is always given a slanting incline with the densities of colour below serving as anchors to the airy handling and mixing of colours above, soulfully suggestive of the scene without declaring the intent. It is in the landscape in which he opens out the receding dimension as in No. 31 that the young artist’s control of line (mark the natural rhythm of trees) and eye for the environment (the gentle yellow on grey) which looks on land from yet another angle becomes noticeable. Where the sky is not attempted, atmosphere is achieved, but the parting of the land and sky would require the middle area to be infused with life to invest whole space with the compactness of a vision.

K. L. Kaul
The Statesman, New Delhi. July 19, 1994

Animesh Roy is best in his mixed media with brownish monumental subjects. His watercolours are pleasant. Roy’s acrylics are dexterous but less animated.
Keshav Malik
The Times of India, New Delhi. October 11, 1994

Recreating the Ambiance

Animesh Roy’s display of drawings and paintings demonstrate his evolution as an artist within the basic genre of realistic landscape paintings. The artist is open to experiment, both in terms of themes as well as colour. His earlier work was dominated by dark overtones, a product of his depiction of thick foliage and dense undergrowth. His recent works are concerned with light, its qualities and effect on the canvas. There is a fluidity in his works, missing before. The watercolour and acrylic landscapes range from the predictable to the innovative. Among the former are the kind with a hut on a mountain side among trees reflected into a lake. The delicate use of grey, pink and mauve for the sky and a bent figure competing against nature, however, save the painting from being banal and completely run-of-the-mill.

Far better are the studies of bamboo forests. The brown, swaying tree trunks, patches of green foliage over-laden with sienna, rust and umber lend it a feeling of richness that comes from the sun filtering through the clouds after a light shower. A similar painting in the exhibition explores the effect of light in early afternoon making for a bright, illuminating kind of work. Animesh’s drawings are much more structured and formal. The pen and ink drawings are in the main of Dagshai, a small township near Kasauli. The characteristic feature of these is the detailed line work and the careful composition of the drawing. The artist has sought to recreate the ambiance of a sleepy, peaceful and picturesque hill town, though his reluctance to put in figures renders it somewhat antiseptic.

The wooden architecture with long balconies, patterned masonry, sloping roofs are portrayed though a combination of cross hatching and solid strokes. The drawings are not just pictures, they are narratives of the particular piece of geographical space. One such work is that of a small dak bungalow that used to be the house of a Muslim landowner who moved to Pakistan after the Partition leaving behind not just the building, but a reminder of a culture we are losing. Perhaps the best work is a street scene with a row of wooden houses on one side.
Seema Bawa
The Pioneer, New Delhi. July 20, 1994

Avant Garde Consciously Avoided

Academy of Fine Art, Calcutta

Animesh’s forte is drawing. With minimal lines and extreme economy of detail he captures the spirit of the place and mood of the moment in the remote, bald, sparsely peopled towns and villages of Ladakh. His sure-handed quick execution registers a contemplative quiet.

His paintings too are nature-seascapes but are more concerned with the expressiveness of colour and space. He succeeds most when he handles his paint as he lays line in the drawings. Most engaging are the acrylics such as Sunlit Path, Left Blooming Alone, The Stream.
Manasij Majumder
The Telegraph, Calcutta. 10 November 1995

Two Artist Show, Academy of Fine Art, Calcutta

This exhibition will be remembered for the pen and ink drawing by Animesh Roy.
These small drawing of monastery life in Leh and Thicksay created the atmosphere with the greatest of economy. Animesh Roy has an excellent sense of the balance between black and paper space so essential to pen and ink studies and his drawing must have been a delight for art students in Calcutta. This artist also exhibited a series of small acrylic studies of nature that involved the eye with textures and chromatic harmony. Animesh Roy proved that it is still possible to paint from the heart and make simplicity the keynote of art.
Kishore Roy
The Statesman, Calcutta. November 17, 1995

A Traveller’s Palette

Sophia Duchense Gallery, Mumbai

Dnyaneshwar Nadkarni is impressed by the lucidity of debutant Animesh Roy’s drawings and paintings

Animesh Roy makes a striking debut on Saturday at the Sophia Duchesne art gallery. Roy graduated in Fine Arts from the Delhi College of Art in 1990. He has had three solo shows in the Capital. One of them was devoted to the theme Travels With a Donkey. This is the title of a work of legendary Scottish writer Robert Louis Stevenson. “He is a special favourite of mine”, says Roy, better informed regarding literature and cinema than the average painter. The lucidity of his drawings and paintings at the Sophia matches this intellectual alertness.

Roy has also participated in group shows in Calcutta and New Delhi. He also enjoys travelling. Many of his drawings create vivid images of Ladakh and Leh in the Himalayan region. Roy’s drawings Young Lama. Thicksay and various monasteries and other places betray an expert hand at work.The paintings comprise landscape as well as naturescapes. Roy wields a brisk palette, using more than one medium. These paintings portray a world different from that of the drawings. Roy is right to adopt a realistic manner in the drawings and an impressionist one in the paintings. In the paintings he works with texture and light, unloosening forms in a natural manner. The Fall is one of his finest paintings. It evokes the downward descent of a big cataract in a powerful movement. The Lane in acrylic is another important painting. And the expressionist In Unison displays a probable side of the painter’s psyche.

On the whole this is a show that reflects a rich mind — and one which projects both youth and intensity.

Dnyaneshwar Nadkarni
The Pioneer, Friday, Mumbai. September 20, 1996

Lucid Landscapes, Sophia Duchense Gallery, Mumbai

Animesh Roy’s intensity invests his paintings with a kind of symbolism

Animesh Roy of Delhi makes his debut at the Sophia Duchense Gallery with drawings and paintings.

In his solo shows held earlier, one of his most interesting works was ‘Travels with a donkey’. “That is a title from Robert Louis Stevenson, one of my favourite writers,” says Roy, well-read and well-versed in not just art, but other cultural subjects as well. These were drawings of Ladakh done in pen and ink. A comparable show was ‘On the road’ consisting of paintings in acrylic. Roy is also adept at water colour; and the evidence of this is the current exhibition.

He has also shown his work with other artists. In 1991, his water colour was selected by M F Husain for display at New Delhi’s Vadehra Art Gallery. Not only are there lucid landscapes in the show, but also vigorously expressionist works such as ‘In union’. There are quite a few delineations of cataracts. The intensity of these views invests them with a kind of symbolism. Add to these the excellent drawings of the northern Himalayan region, and you have a winner in your hand.
Chitra Sardesai
Mid-Day, Mumbai. Wednesday, September 25, 1996

A Peek Into "A Traveller's Palette" Open Palm Court Gallery, New Delhi

He doesn't believe in creating artistic impressions sitting in a studio. Instead, artist Animesh Roy travels to various interesting places across the country to derive inspiration from nature and topography. At present Animesh's exhibition -- appropriately titled "A Traveller's Palette" -- done in oil and acrylic on canvas as well as pen and ink on paper is on at Open Palm Court Gallery here.

Revealing that he had been travelling to the Himalayan belt for the past ten years to create a body of works for the ongoing exhibition, Animesh says: "I have travelled extensively across Leh, Ladakh, Kullu, Sikkim, Uttaranchal, Bhutan and Nepal to do on-the-spot sketches and paintings."

The artist has also depicted Indian farmlands by showcasing geometrical designs in agricultural land that can be of any northern State of the country. "I have also tried to show the different topography of our country," adds Animesh, whose last exhibition was way back in 1996 in Mumbai.

After passing out from the Delhi College of Art (1986-1990) as a Bachelor of Fine Arts, Animesh's pieces of art in drawings and paintings (water colour, acrylic, mix media and pen and ink) were showcased at a solo exhibition at Sophia Duchesne Art Gallery in Mumbai in 1996. His pen-and-ink drawings of Ladakh were displayed at an exhibition titled "Travels with a Donkey" in New Delhi. At Triveni Gallery his paintings and drawings were displayed in 1994. He has also participated in various group shows in the Capital's All-India Fine Arts and Culture Society, M.E.C. Art Gallery and Vadehra Art Gallery.
Madhur Tankha
The Hindu, New Delhi, Thursday, Oct 19, 2006

Travelling for inspiration

“I don’t pretend that I paint because I want to say something or convey a message. So, please don’t read any hidden meanings into my paintings. I paint because I like to portray the happier side of life — beautiful landscapes, for example — because I think that there are enough artists painting the morbid side.”
“I love to travel because that’s where the so-called inspiration comes, so I hope to travel more, paint and be generally happy.”

Animesh Roy, Excerpt from a press interview. 1992

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Wherein you will find reviews of my work by leading Art Critics from India.