Landscape Paintings of Painters: Participation Approach

The landscape painting is extremely intriguing despite the fact that it has no precise history. In Egyptian tombs and Rome there are divider paintings which can be classified as landscape paintings since they speak to rocks, plants and trees in their natural form. We may say that landscape painting in Europe was an unconventional development of the renaissance. The landscape components were continuously permitted to overwhelming the episode displayed in a painting. In his initial profession he typically painted the landscapes in wash method. His landscapes are additionally altogether different in the portrayal of the scene for the most part empty from human nearness. Gaganendranath utilized the oriental methodology as a part of the delineation of wide edge perspective of subject in verging on repetitive or stifled colors. His landscapes 'The Blue Mountain' (Fig.1) the 'Gauri Shankar' (Fig.2) are exceptionally noteworthy in this connection. In this period Gaganendranath Tagore was exceedingly motivated from the landscape paintings of J.M.W. Turner and J.M. Whistler. His paintings 'Sun over the Sea' (Fig.3), ‗Storm ahead in Padma' (Fig.4), The Bridge (Fig.5) demonstrates his enthusiasm to play with light in the photo space. Be that as it may, his methodology was not genuinely impressionists. "This is particularly found in certain exceptionally Orientalizing landscapes where it is not impressionistic space but rather the oriental

Gaganendranath Tagore was testing separate from the revivalism in Bengal and making parallel yet autonomous feel which joined contemporary European artistic advancements. "Regardless of his families nearby relationship with revivalism, Gaganendranath kept outside the pale of parochial universality of modern Indian art. He remained a free painter all through, free from fixation of numerous types oriental or occidental." Gaganendranath Tagore took after his own motivations, openly reacting to artistic impacts from all headings, including from the ridiculed West, and portraying the lip services of the general public around him. "Modern art was seen to have landed in India with Gaganendranath and Rabindranath Tagore. The Definition of modernism in the circle of Indian art, in particular, has tended to concentrate on the issue of cosmopolitanism, progressive advancements and open-ness to the contemporary European improvements. Absolutely the European Cubist and Futurists developments set the connection for Gaganendranath tests with the comparable development and fragmenting of forms." He has been called as a painter of the modern illustrations.

After independence many Indian artists went to Europe and America. Ram Kumar and S.H. Raza went to Paris, Satish Gujral went to Mexico, F.N. Souza and S.K. Bakre left India for London. The need of the young artists to keep in step with the new currents in visual art was completely justified and expected. India was now an independent state. This need was also gradually recognized by the State as one of the aims of state cultural policy, so that it served the broader pursuits and interests of an independent state. Indian artists were influenced by doctrine and technique prevalent in the western art. Changes in the economic environment and socio-political advancement had its influence on the Indian artistic scene. Artist came to know that a section of viewers and artists have been inspired by the display of colors in the place of representational human figures and its sophistication. In this period none of the artist practiced abstraction in the full length and discourse. Some Indian artists stylized Indian tradition with the norms of western modernism and many other significant artists turned towards the early twentieth century developments in abstraction for their inspiration. The birth of modern Indian art and the abstract forms could be attributed to several social and

which was well brought out by many artists of this period. Other eminent artists turned towards the mid twentieth century improvements in abstraction for their motivation. The introduction of modern Indian art and the abstract forms could be ascribed to a few social and environmental conditions that the nation persisted and which were well brought out by many artists of this period.

Ram Kumar: Ram Kumar profession before he universalized tine subject and achieved the ground period of his splendidly colored abstract landscape. His late landscape contrast from past landscape. He portrayed man and nature (the music they redicate flowters the fogs, the mountains, the rocks and so on) in his landscapes. He is especially affected by the 'Writer of nature' William world worth. Ram Kumar has truly come to the top of abstraction which can be just increased after the aggregate development in the field of art. He has given another swing to the art of landscape. The landscape shows to surge (swarmed houses) art of the photo former. He utilized Pigment color, splendidly color, acrylic colors, and some oil and realizes a texture of pictorial space. Ram kumar indicates force and quality in his association of colors, forms and space ranges and of doing the subjective, goal, substance and effect. He utilized mostly blue and green colors in his landscapes. He utilized oil medium as a part of his landscape. He did a large portion of work in Asia and Abroad, Banaras, Ranikhet, Kashmir, Ladakh, Jaisalmer in Rajasthan. Around the same time (1992) he went to Nepal and saw old models and divider painting display take a shot at paper at place for contemporary art exhibition in Delhi. A large portion of his work are print making, model, divider painting, Abstract Previous landscape, human figures. His well-known paintings are ―The tragic town‖ (for which he got the Padamshree Award), ―Two sisters‖, ―Banaras Ghats‖, ―Farewell to the past‖. ―Reflection between shadows‖. He went to Banaras (Varanasi) interestingly with Mr. M.F. Husain and Sripat Rai utilized wax and Japanes ink and made portrayals of Ghats without human figures. Ram Kumar‘s paintings have a particular sentiment primordial time about them. Ram Kumar‘s work developed from before allegorical painting. His abstract propensities were the augmentation of freedom from landscape. Ram Kumar's style is, altogether different from that of leger's own sensational of semi-abstract manner of expression. Ram Kumar's landscapes of the 1970s are invested with a spatial quality that is accomplished through the artist's deft utilization of numerous points of view and extensive, landscapes are not practical representations of components from nature, "wedges of area and spreads of water; divisions of area as parched and ripe, febrile rock and lush vegetation; daylight and shade; dampness and fog" are all conveyed through his utilization of color. The palette utilized for these works ranges from chestnut to ochre to profound soul, and the general creation is acknowledged through inconspicuous tonal varieties that mix the canvas with a feeling of development and vitality. Ram Kumar's works of the 2000's are not generally naturalistic propagations of nature and the encompassing landscape, or maybe, they show up much more abstracted both in idea and execution. The outcome is a work that joins images from his visual databank with his very own recollections and encounters. It is the ideal equalization of these two components that makes his work unmistakable. As an artist, Ram Kumar feels, it is important to have an open attitude that invites outside jolts. "Once got inside, the stray, inchoate images experience a baffling transformation, to which the artist is as much as uninvolved onlooker as the observer in the display." This is the sort of demonstrate that introduces a tribute to isolation. Paramjit Singh: Paramjit Singh is a natural painter. He is doing his landscape painting with confidence and commitment. He utilized stone as a part of his painting; in some cases he utilized stone as fundamental components in the setting of nature. He generally use to see the excellence of the object. The magnificence of objects gave profound impression in his brain. He attempted to make a wonderful sceneries i.e. wonderful patio nursery, trees, water, grass, open sky, cloud and so on. He appreciated the way saiioz took care of color and plan. He found his command over splendid clear colors. He utilized light from the back on his canvas; he could extraordinarily a baffling impact, in his style. The lithoid forms supplanted the books, bottles and different stocks in exchange of still life. Paramjit Singh's strategy additionally changes with such brazen delineation of nature. He required thicker shade the part of straightforward colors. The pastels are not the same as his landscape done in oil. He makes full utilization of the dim, pink pale, yellow and blue accessible in pastels. He delineated fights, books and different strokes in exchange of still life. His renowned landscape painting is "STONE OF THE WALL". No human figure is available in these landscapes as though the human being will destruct them. It is acknowledgment as a contemporary artist does not come without a moment's delay. He demonstrates evening time, it looks lovely and he likewise needed to demonstrate the nature, he appeared, nightfall in his

not express a romantic nostalgic of unhampered natural vistas. Satish Chandra: Satish Chandra is a famous landscape painter. He rouses nature, climate and environment. He has spent significant time in landscape painting. The landscape painter must stroll in field with a modest personality and a heart in adoration with nature. We discover smooth paint of colors and impeccable symphonious, blend of colors and thoughts in his landscape painting. He has given another measurement in the art of painting landscape. His paintings on canvas are uncommon and novel. He utilized element brushwork on the canvas. We find that there is a new style in each of his work. He has given another measurement in the art of painting landscape. "Eyes of the Thar" they were life capes of Rajasthani desert, brought, however, their colorful greatness and overpowering spiritual riddle. He had gazed painting the unadulterated white circle keeping in mind going by the renowned Romtak religious community, in Himachal understood that it was end of all form, color and sensibility. Be that as it may, going to Thar leaving by change, he restored his innovative life. This work demonstrates the inward romance and the spiritual triangle between man, earth and sky. Dr. Ram Kanwar: Dr. Ram Kanwar is synonymous to the colossal landscape painters of present time. He had spent his initial years in provincial surroundings seeing nature, in hits inebriating wonders and colorful assortment. He has additionally portrayed everyday town life and Rajasthani society in his paintings. We find that there is a new style in each of his work. He discover smooth paint of colors and flawless concordant mix of color and thoughts in his landscape. He utilized 'impressionistic strategies in his landscape. He works in intense and element brush strokes and he utilized master figures as a part of his landscape. He gives another measurement in uncommon and interesting element with brush stroke on his canvas. He utilized oil medium as a part of his landscape painting.

The landscapes of Ram Kumar is well known far and wide. The play of the colors, the freshness and the intensity in each stroke is exceptionally engaging and had no parallel. In his late paintings the whole environment has changed. The entire stage, as it might have been, had got to be articulated. Man has vanished from his stage and the background has ended up bigger. Presently it is the nature and just the nature in the paintings of Ram Kumar, it appears that the artist in especially impacted by the "writer of nature", "William Word Worth". Frequently Ram Kumar's landscapes agree with the ballads of "William Words Worth", it is the sensation in nature to which he is presently most during the time spent being deciphered into color and form, a pictorial structure that both transmits and weights their liveliness. The assignment of finishing up the investigation of a specific point in Dr. Ram Kanwar's work is truly an alternate undertaking and a troublesome one. The inventive personnel of an artist in the field of his work is truly the most wonderful perspective. The work of an awesome artist is truly exceptionally amazing and it uncovers his extraordinary qualities as a man or woman. Dr. Ram Kanwar has an empowering disposition towards the youthful ones. His method for carrying on and collaboration with others is all the more particularly amazing. His commitment to the field of art is vital and it is in great amount. It is trusted that an artist is awesome energy to nature. To paint the scenes of nature makes an artist build up a cozy relationship with nature. It is similarly consistent with Dr. Ram Kanwar; He had appropriately mirrored his nearby fondness with nature in his landscape, with the assistance of his brush and paint that he made utilization in his landscape on canvas. His paintings are so great and fine that we get the genuine impact of life and shade on the object of nature and their shadows on the ground.

Cummins, Joan-2006. Indian Painting: From Cave Temples to the Colonial Period. Boston: MFA Publications. Ella Datta, Paramjit Singh Painting- 1999 Published by CIMA Gallery Pvt. Ltd., Kolkata. Hollander, John-1995. The Gazer's Spirit: Poems Speaking to Silent Works of Art. Chicago: University of Chicago Press. Khanna, Balraj & Kurtha, Aziz, Art of Modern India, Thames & Hudson Ltd., London-1998, p. 15 Khanna, Balraj&Kurtha, Aziz, Art of Modern India, Thames & Hudson Ltd., London-1998, p. 22. Kumar, R.Shiva, Cultural Specifity, Art Language, the Practice of Modernism- An Indian Perspective, In Contemporary Indian Art-Other Realities (Ed. By Yashodhra Dalmia), Marg Pub-2002, p. 12. M. Rama Chandran in the exhibition catalogue, Paramjit Singh No- 1995. Vedehra Art Gallery (Indian Contemporary, Post-Independence). Mitchell, W.J.T-2000. Introduction.–W.J.T. Mitchell (Ed.). Landscape and Power. Chicago: The University of Chicago Press, pp. 1–4

National Book Trust Thakurta, TapatiGuha, The making of a new ‗Indian‘ art, Cambridge University Press, Britain- 1992, p.199

Research Scholar, Himalayan University