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Photograph of Artist Vinayak G Takalkar, Maharashtra, India

I'm Visual Artist Vinayak G Takalkar

Maharashtra, India


  • State Art Exhibition - 3rd Prize, 1987
  • Nashik Kala Niketan - 1st Prize, 1992
  • Cash Award (Rs. 30000/-) with Silver Medal at Prafulla Dahanukar Art Foundation in 2015

Group Shows:

  • 16th May to 19th May 2010 at Nashik.
  • Neharu Centre, September, 2012.
  • Jehangir Art Gallery, 13th January 2015 to 19th January 2015
  • Neharu Centre, India Art Festival 2016
  • Neharu Centre, Prafulla Dahanukar 2017
  • Jehangir Art Gallery No.2, 29th Oct 2019 to 4th Nov 2019

Participations:

  • Bombay Art Society
  • Art Society of India
  • State Art Exhibition
  • Shlok - Lokmat Exhibition

Visial Artist Vinayak G Takalkar, born 1962, Nasik, is currently Art Teacher and Supervisor at D. D. Bytco Boys High School, Nashik Maharashtra. He has completed G D Art (Painting) from Govt. School of Art, Aurangabad in 1983 and Diploma in Art Education from Sir J. J. School of Art in 1987.

Mr Takalkar has exceptional vision, imagery and skill. Vision enables him to enter and penetrate with contemplative prowess into the inner sanctum of the object; get the feel of it, fathom the soul with all the flavour and fragrance; Imagery helps him to visualise unseen character of the object of painting, may it be animate or inanimate; his unparalleled skill with all its uniqueness unfolds all this on the canvas with entirety of (beauty or) aesthetics. Command over dynamics of colourful spectral world is his USP. With thorough understanding of value of colours he chooses the colours with precision. Well-versed with persona of colours and character of object as center-stage, selection and blending of bright colours is pivotally catchy as and where required. This enhances beauty multi-fold. Absorptivity and reflectivity of red-green, blue- green and green-blue used in tandem & that too in perfect harmony gives glory and richness to the character of object of artwork. Colours neither shout, nor do they compete aggressively but they render pleasant and soothing effect and enriches beauty of the painting.

It is said that beauty lies in the eyes of perceiver. Mr Vinayak Takalkar firmly believes that nature is the sample space of beauty. Artist simply selects a part of it for mimetic creation of his artwork. Therefore success of artist lies in his focus on 'what' 'how' and in which order to perceive. This requires meditative trance, discerning selection of medium, unfaltering skills to control the medium and disposition of expert guide. If he is able to induce right perception and cognitive process, the effect of his artwork is miraculous to render desired experience to the appreciator. Only degree of maturity attained by the artist determines hierarchal position and status.

Whiteness stands for positivity, purity, perfection, sanctity, serenity, sacredness and protected. When it comes to Himalayan landscape, the snow-whiteness, has infiniteness, eternity and completeness as added dimensions.

Mountainous terrain of Himalaya is such that the game of 'chasing light and shadow' with all the possible shades is perpetually going on indicating that change is the only constant in the universe. Survival of solitary Kedarnath temple with utter defiance and constancy during swinging moods and whims of nature is suggested by saffron dhvaja In front of Mandap and snow covering plinth and part of roof in 'चिरंतन'; and by glimpse of glory of the shrine with amply used light shades of yellow, red and grey for roof and tiles of wall and frame of doors in ‘दर्शन शाश्वताचे’. This is further highlighted with lot of white, blue and dark green used to show mountains covered by flora. 'केदार-कैवल्य' is depiction of final emancipation. Glimpse of tinge of blue in the inner sanctum because the perceiver to attain Kaivalya.

In 'घर आदियोग्याचे’ Kedarnath plunging into the snow up to the plinth, with all the antiquity of the shrine creates a feeling that Aadiyogi must be residing in the shrine. Blue and white of snow in the background adds to the effect.

In artwork titled 'Sadan Shivache', on the backdrop of serenity and holiness of blue of snowy mountains of Himalayan range, residence of lord Shiva, the god of purity and chastity, saviour and yet destroyer, is well connoted by red, dark yellow of canopy and roof-tiles of the shrine and amply used shades of grey for walls of the shrine.

In 'आनंदिता' honest innocent blooming smile on the face of the girl and touching tenderly unintentionally the fresh lovely blossomed flower of Shevanti by her hand with the same innocence emanates unadulterated happiness all over the painting. The soulful divine happiness enters into the heart of perceiver. Whiteness of Shevanti flowers and lit earthen lamp in the niche of Vrindavan with modest design on granite tiles add to the enthralling effect. Blue attire of the girl makes her smile more radiant. Emanating magic spell of happiness is success story of mastered skill and technique of the artist.

In 'मनोज्ञा' lady in traditionally embellished attire in green saree, with tender touch of 'Karnaaphool' with her fingers is deeply absorbed in the itinerary of her past memories. Graceful sinuous bend of her posture starting from toe of left foot touching the ground unknowingly guides and glides eyes and heart of perceiver to facial expressions of absorbed mind and her fingers touching Karnaaphool gently triggering the 'bhava'. Here again shades of green of folds of nine yard saree and plenty of red and yellow used complement each other enhancing the impact.

'Vishnupriya' depicts lady laden with ornaments and in very rich attire manifesting the bhava of pride about her beauty and richness like Lakshmi with all the preparation of worship tries to downgrade simplicity of devotional sublime love of Tulsi for lord Vishnu as if raising question, "who is real devotee 'Vishnupriya'; me, or her?" Rich tone of 'Blue' of saree enthrones her to the status of Lakshmi as traditional ornaments do. This stamps charismatic skills of the artist.

‘मुग्धा’ is teenager stepping into adolescence. In the process of adornment, after applying Bindi, looking at her image in the mirror fitted in traditional box of decoration is suddenly fascinated by enticing self-image to the extent of infatuation. The shades of dark red of 9 yard saree depict all the folds without emblazonment. The artist has command over the rare technique in this respect.

'परिणीता' the married girl feeling her ornaments quite affectionately. Clearly she has pleasing interesting romantic memories associated with them. Again red-green-blue plays magic.

Seeping nostalgia is all melancholy mood amplified by colours composition of positioning and superior painting skills of the artist. Devouring melancholy due to nostalgic memories of estrangement of someone very dear and close to the heart seeping in her mind keeps hovering over the canvas. Combination of shades of blue along with orange and black enhance the intensity multi-fold. Her untidy hair hanging out of equally untidily coiled turban, eyes of sleepless night, black soot extinguished lamp contrasting rose flower, even ring in drooping right hand and tight fitting clothes, all these have telling effect in the narration. No doubt it appears signature painting of the artist!

My artworks for sale


₹ 160,000

Swayamprabha

Painting: Oil on Canvas
Art by: Vinayak G Takalkar
Size: 72.0 X 48.0 inch (WxH)

₹ 160,000

Shefali

Painting: Oil on Canvas
Art by: Vinayak G Takalkar
Size: 72.0 X 48.0 inch (WxH)

₹ 160,000

Anandita

Painting: Oil on Canvas
Art by: Vinayak G Takalkar
Size: 72.0 X 48.0 inch (WxH)

₹ 160,000

Manodnya

Painting: Oil on Canvas
Art by: Vinayak G Takalkar
Size: 36.0 X 72.0 inch (WxH)

₹ 160,000

Madhurima

Painting: Oil on Canvas
Art by: Vinayak G Takalkar
Size: 36.0 X 72.0 inch (WxH)

₹ 160,000

Vishnupriya

Painting: Oil on Canvas
Art by: Vinayak G Takalkar
Size: 48.0 X 72.0 inch (WxH)

₹ 160,000

Parineeta

Painting: Oil on Canvas
Art by: Vinayak G Takalkar
Size: 60.0 X 48.0 inch (WxH)

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