| Medium | : | Watercolour |
|---|---|---|
| Height | : | 18 inch / 45.7 cm |
| Width | : | 24 inch / 61 cm |
| Surface | : | Thick Imported Paper |
| Style | : | Animals paintings, Figurative Paintings |
| Dimension | : | W: 61 cm × H: 45.7 cm |
A delicate watercolor of a solitary deer, rendered with minimal strokes and soft washes. The artwork captures a quiet, introspective moment in nature, blending elegance with a sense of calm stillness.
Kartick Chandra Pyne | Untitled | Watercolour on Thick Imported Paper | 18 x 24 inches
This watercolor carries a quiet elegance, where simplicity meets a deep sense of observation. A solitary deer stands gently within a sparse landscape, its form elongated and slightly stylised, as if shaped by memory rather than strict realism. The body, painted in soft greys and muted greens, feels almost translucent — blending into its surroundings while still holding its presence.
The antlers rise delicately, branching out like quiet thoughts, while the slender legs give the figure a sense of fragility and grace. There’s a stillness in its posture, as though it has paused mid-step, listening to something unseen. The minimal background — suggested foliage above and a lone tree to the side — creates a soft, natural frame without overwhelming the subject.
What’s striking is the restraint. The artist doesn’t overwork the details; instead, each brushstroke feels intentional and free. The negative space around the deer becomes just as important as the figure itself, allowing the viewer to breathe within the composition.
There’s an underlying emotion here — perhaps solitude, perhaps quiet awareness. It feels like a fleeting moment captured in time, where the boundary between the animal and its environment gently dissolves. Rendered in watercolor on thick imported paper, the work embraces fluidity and softness, making it both visually light and emotionally resonant.
Born into an aristocratic family of gold merchants, Kartick Chandra Pyne took an interest in art at an early age.
The older cousin of Ganesh Pyne, another remarkable Indian modernist,
K. C. Pyne graduated in fine arts from the Government College of Arts and Crafts, Calcutta, in 1955. Later, he taught at Calcutta’s Indian College of Arts and Draughtsmanship in the 1970s, and the Academy of Fine Arts in the ’80s.
One of India’s foremost surrealist painters who was influenced by artists such as Rabindranath Tagore, Marc Chagall, and Joan Miró, Pyne famously said, ‘I did not really know that I worked in the surrealist style till it was pointed out to me.’ His works, spontaneous and individualistic, had surreal imagery in bold colours. A four-time winner of the award of the Academy of Fine Arts, Calcutta, Pyne had represented India in the exhibition titled ‘100 Years of Modern Indian Art’ held at the Fukuoka Museum, Japan, in 1979.
An intensely private person, he preferred to pause, reflect and focus on painting while exploring a range of subjects — myth, fables, human stories, culture, memories, fantasy, erotica — in a vibrant palette. Art, for Pyne, was an intimate approach, thus requiring the artist to still the mind and experience the meditative aspect of creation.
Nothing stopped him, not even a paralytic stroke that affected the left side of his body in 1994. In fact, in the late ’90s, Pyne painted his acclaimed nude series. He was painting till a year before his death, for as long as he could hold a brush, at his home in Kolkata.
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