| Medium | : | Watercolour |
|---|---|---|
| Height | : | 22.5 inch / 57.2 cm |
| Width | : | 30 inch / 76.2 cm |
| Surface | : | Thick Imported Paper |
| Style | : | Animals paintings, Figurative Paintings |
| Dimension | : | W: 76.2 cm × H: 57.2 cm |
A serene watercolor depicting three striped fish drifting through layered blue waters. With soft textures and a tranquil composition, the artwork evokes quiet movement, companionship, and a dreamlike underwater calm.
Kartick Chandra Pyne | Untitled | Watercolour on Thick Imported Paper | 30 x 22.5 inches
This watercolor feels like a quiet glimpse into an underwater world—calm, fluid, and gently alive. Three fish drift across a deep blue expanse, each moving at its own pace, yet together forming a subtle rhythm that guides the eye through the composition. There’s no urgency here, only a sense of stillness and quiet companionship.
The largest fish, placed prominently in the foreground, carries a sense of presence and weight, while the smaller ones hover nearby like echoes — suggesting distance, memory, or perhaps different moments in time. Their striped bodies, painted with loose yet deliberate brushstrokes, bring a tactile quality to the work, as if you can almost feel the texture of their scales.
The background is built with layered washes of blue, creating depth without defining a specific space. A soft, curved streak of light cuts across the surface, hinting at movement above the water or a fleeting reflection — adding a poetic, almost dreamlike dimension to the scene.
What makes this piece compelling is its emotional subtlety. It speaks of coexistence, of silent journeys, and of the gentle flow of life beneath the surface. The artist allows the forms to remain simple, yet full of character, leaving space for the viewer to connect with the scene in a personal way.
Rendered in watercolor on thick imported paper, the artwork embraces spontaneity and softness, where each stroke feels intuitive and alive — perfectly capturing the fluid nature of its subject.
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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