Queensland Art Gallery Presscuttings Book 1 : Presscuttings, 1959-1962

'Phone: MU 5133 1904 'Phone: MU 5133 AUSTRALIAN PRESS CUTTINGS Melbourne, Victoria "COURIER MAIL" Brisbane, Aid. See paintings Au exhibition of 1,4 Indian paintings and drawings will be on display for a month trout Wednesday at the Na- tional Art Gallery. Est. 1004 'Phone' MU 5133 AUSTRALIAN PRESS CUTTINGS From Est. 1904 Melbourne, Victoria "TELEGRAPH" Brisbane, Aid. 1 India exhibit exquisite At the Queensland iNational Art Gallery. a 'collection of 64 Indian Paintings end draWings are on show in the Print Room. The paintings and drawings were collectco by Colonel T. G. Gayei- Anderson and his twin. brot the late aJoi R. G. her. Gayer-AnderMsdn between 1926 and 1952 chiefly in India, Cairo and London. They are part of a gift made to the Common- wealth Government and are on loan to Brisbane tor one month.7th The works are of the 1, 18th and 19th Centuries. Exquisite manipulation of fine expi essive line: work combined who inherent appreciation of decoration, make this show something, whien should not be missed by the interested in art and termor or less disin- estede citizen.- MEL- VILLE HAYSOM. 'Phone: MU 5133 AUSTRALIAN PRESS CUTTINGS Melbourne, Victoria From 3 SEP 1911"TfLEGRAPH" WING OF INDIAN ART Brisbane, 611d. A collection of Indian paintings and drawings will be on show in the print room of the Na- Urinal Art Gallery from Wednesday. The 04 exhibits include examples of the principal schools of Indian painting in the 17th, 18th and 10th centuries. Colonel T. G. Gayer - Anderson and his twin brother, the late Major R G Gayer -Anderson, built up the collection between 1926 and 1052 and it was donated Co Ole Common- wealth Government. AUSTRALIAN PRESS CUTTINGS vie Othi fll "COURIER MAIL" Brisbane, Gild. -r. Indian paintings on show in Brisbane MUCH delight can be found in a fine collection of In- dian paintings and drawings on view for four weeks in the Print Room of the Brisbane National Gallery. The 61 examples are part of the Gayer -Ander- son gift made to the Com- monwealth Government. They include examples 01 Indian miniature painting of the 17th. 18th, and 10th Cen- turies. as practised at the courts of the Mogul emperors and Rajput princes. These single leaves, for col- lection in albums, evolved from earlier book illumina- tions. Mogul painting is linked 9 jut_ 7sr;,,f' MAIL," C -M. PANELS INDIAN ART Face enintingt from OR exhibition of Indian oft to he shown at the Queensland Notional Act Gellert' melt month ere no slew in The Courier -Mail Art Panel, They are examples of Itith (TIMM* art The paintings were chosen from 220 I 'idle 0 works given to the Commonwealth Gov- ernment by Colonel T. G. reviler Anderson, C.M.G. In S 0. ART REVIEW by DR. GERTRUDE LANGER with the art-loving personal- ity of Akbar the Great in the 16th century, when the tradi- tions of Indian art were grafted on to a Persian style. Under his followers in the 17th century the style became ciduluetneccles.with Renaissance in - Female yogis THESE may be found in "Female Yogis worshipping Mahadeva," where a night scene is rendered under naturalistic light conditions, or in other examples, which show Western perspective: the "Portrait of a Turanian Ruler" (47) shows a completely westernised treatment with modelling in light end shade. However, the best examples of Mogul painting are those where the Oriental element prevails, and these are in the majority. Rajput painting emerged in rivalry with the patronage of the arts by the Muslim overlords in the Deccan and in Delhi. Luxurious . . . IT is based on pure Hindu traditions. How- ever, as Rajput and Mogul mutually influenced each other, the differences often become indistinct. In the main. Mogul paint- ing shows a preference for de- picting the rulers and the luxurious court life, whereas Rajpul painting depicts the ancient Hindu myths and epics. The pure Hindu style is re- cognised by its insistence on the decorative flat surface, on pure colours, without any trace of modelling, and by the emphasis on racial charac- teristics, the profile view, and the large eye facing the spec- tatnr But in spite of all differ- sbane, Q'Id. cores of schqola and styles, the Indian element pervades all the best paintings. This typical Indian flavour Is sensed in the poetic fairy- land mood, in the warm feel- ing for life in all its manifes- tations, in the sensuousness of the sinuous delicate line, and in the singing colours. What sense of enchantment to evoked in "The Feast of Light," nr "A girl play- ing a vina to deer." or "Ladies battling in a river" 11811 "Two elephants fighting" show the artist's insight into every nimble movement of 110se heavy animals, and a crimple! e sense of life is created by mere outline calli- graphy Fat and lean No. 11, showing a bulg- ing nobleman lolling on cushions and giving orders to a very lean servant, looks almost like a comment on the hollowness of luxury. The Portrait of Emperor Aurangzeb 1221 is an aston- ishingly bold character study,