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Dimensions: 68 7/8 by 100 in. (175 by 254 cm.)

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Notes: VARIOUS PROPERTIES
Rameshwar Broota's paintings capture and highlight the vulnerability of the human situation. His early works of the 1960's depict the emaciated despairing figures of laborers, highlighting his empathy with the exploited and marginalized members of society. By the 1970's these figures were transformed into 'humanized' gorillas, a metaphor for the inherent bestiality and corruption of mankind. Towards the end of the decade, the artist returned again to the human figure but presented in a new method of paint application that has come to be known as his hallmark style. The current work from the 1990's is representative of a brief and rare period in Broota's career where the human figure has completely disappeared from his canvas. According to the artist he strongly felt the need for a break from the human figure, and was instead keen to 'explore dual thoughts in the same painting, which juxtapose earthly forms with ethereal space; hence the use of a diptych.' (Dadiba Pundole in conversation with the artist.) However, his unusual and painstaking technique of scraping paint from the canvas to reveal the white beneath, is continued creating a monochromatic work of intricate detail on a vast scale, further highlighting the sense of duality present in his composition. 'Some of these works...are like standing miracles, and they have the impersonality of art that has become truly independent of their maker but thereby also being a compelling presence. The painstaking working on each inch of canvas is a tribute to the painter's patience and a testament of his co-operation, indeed proof of subordination of himself before the creative power that is working through him. In this sense he is close in spirit to our artisans who forgo personal expression in favour of expressing that which is universal.' (Keshav Malik, Rameshwar Broota; the Winding Spiral, Vadehra Art Gallery, New Delhi, December 1998).