In defence of realism: delving into the work of MV Dhurandhar

One of India's most notably underrepresented painters was brought to the fore in a mammoth retrospective this month at Mumbai's National Gallery of Modern Art (NGMA) titled 'The Romantic Realist'. MV Dhurandhar (1867-1944)—painter, poster artist and illustrator—was one of the most versatile artists of his time and a prominent member of the Bombay School. He followed in the style of British realism, but was especially inspired by the work of Raja Ravi Varma and his representation of mythology. Besides teaching at the Sri JJ School of Art in the then Bombay, as a British appointee, Dhurandhar also did commercial illustrations and posters, while his fine art was patronised by a number of princes and Maharashtrian aristocrats. The size of the exhibition, which was curated by NGMA in collaboration with DAG—is itself an indication of Dhurandhar's exhaustive range; taking up all five floors of the institution, it includes sketches, posters, paintings, drawings, as well as a recreation of one of his murals.

Photographic Realism

The quality of Dhurandhar's work speaks for itself. His sketches are practically photographic in their realism, though Dhurandhar isn't one to shy away from a little artistic license here and there, either. In addition to scenes from everyday life and commissioned portraits, he also painted depictions of Hindu mythology and scenes from the history of the warrior-king, Shivaji. Dhurandhar was especially fond of the female figure—having painted nudes back when they weren't officially taught as an artistic form—but his eye is respectful, reverent, empowering. Dhurandhar puts his women in positions of authority; whether they're drawing water from a well, reclining in the nude, congregating at a social gathering or shedding tears of joy — they are unashamed, confident, and striking in their power. That he could command such a bold style across mediums is a testament to his immense talent, which makes it all the more unfortunate that his legacy came to be so overshadowed by his contemporaries from the Bengal School.

Realism Falling Out of Favour

“他走的时候拉贾拉维Varmaand the likes of him," explains Ritu Vajpeyi-Mohan of DAG, adding, "Then came Independence and the artistic psyche went into the Bengal School, where there were structures of nationalism, identity… and the focus kind of shifted there. So the Bombay School per say, and Dhurandhar in particular, didn't get as much attention as they possibly should." It is also important to consider that with Independence, the artistic tendencies took a shift towards the modern; a rejection of British classicism in favour of folk-art inspired colours and contours. Dhurandhar's realism had become, quite possibly, dated. Yet, these speculations are all made in retrospect; there is no doubt that during his time, Dhurandhar wasn't just well-liked, but immensely successful. "There is no question that his art was liked," Ritu insists, "Given the fact that he got so many commissions, he got Aundh, Sangli, all the princely states… but whether he got critical acclaim, that is the issue."

Accessible Art

Bringing Dhurandhar back into the public consciousness is simply one of DAG's many attempts at reach a wider audience. Many of their showcases—including the Dhurandhar retrospective—are accessible to all, and include tactile aids for the visually impaired. This is of course in addition to workshops, guided tours for schools, and much more in the way of engaging the otherwise, hesitant public. Interestingly, Dhurandhar's own realistic style goes a long way in bringing people into the gallery; audiences who might have been intimidated by modern art because they couldn't “understand” it, are relieved when they see Dhurandhar's simple, exquisitely crafted yet recognisable scenes from everyday life.

"Apart from what he chose to paint, it is also applied art,” Ritu explains, “The posters, the illustrations, the advertisements were path-breaking for his time. In hindsight, we could probably say that he was trying to do it for various reasons—one could be commercial—but it was also to make art accessible. He tried everything. He thought, for his time, out of the box.”

“The Romantic Realist” will run at the National Gallery of Modern Art, Mumbai, until October 13, 2018.

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