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D. G. (Dattatray Gundo) Kulkarni (1921–1992), known as Dizi, was an Indian painter, cartoonist and sculptor. Considered “one of the most interesting Modernist artists in India”, he remained independent throughout his career apart from brief affiliations with the Progressive Artists’ Group and the Bombay Group. As a student at the Sir J. J. School of Art and in the early years of his career, D. G. worked as a part-time illustrator and cartoonist to support his passion for painting. It was at this time that he acquired the sobriquet Dizi. "I stand in the centre of life and surrender without losing myself." - Dizi Dizi's versatility as an artist is reflected in the three distinct media he explored - drawings, paintings and sculpture. His work reflects an honesty of expression rather than a desire for external approval. His closest friends and contemporaries in the art world, V. S. Gaitonde and S. B. Palsikar, shared this philosophy that their artistic integrity must never be compromised. Dizi received the Lalit Kala Akademi Award in 1967 and the Maharashtra Gaurav Puraskar in 1990. ==Style== Nina Rege, Assistant Director, Nehru Centre Art Gallery, states: “Dizi was not only a master painter, but also a master sculptor, caricaturist and a poet. Generally, an artist becomes famous because of his style. But when his style and his personality mirror each other, he is a different artist altogether, Dizi was one such artist. He was different. A contemporary of the Progressive group of artists. Yet he was a rebel with his own independent style.” Jehangir Sabavala reminisced: “It wasn’t as an illustrator or as a cartoonist that he ever came into his own. Unquestionably, his inclination was towards a more serious aspect of art, which, obviously in his case, first led him to painting. In his earlier days, the palette was bright, more colourful, gayer, lighter, which he eschewed as he grew into a more mature man and painter. He left it behind in favour of a more sombre representation where, I think, the lighter, more lyrical colour was put aside and he went into deeper and more restricted tones. Also, mass, form and volume became very important to him. He simplified the paintings and they became, in a way, monumental. The legacy left behind is of one who worked seriously and for the purpose of the work itself and did not worry whether he should sell or be famous or these other tawdry aspects of the profession.” Artist Prabhakar Kolte observes: “You cannot read his paintings as you would a contemporary artist’s. You have to make a concerted effort to read them by forgetting your own language and script since you have to understand the graphic mood of his lines which were not meant to be tools of expression but ends in themselves.” Professor V. M. Sholapurkar, Founder Dean of CAVA (Chamarajendra Academy Of Visual Arts) comments: “Viewing Dizi’s paintings bestows an illuminating glimpse of the world he chose to inhabit. His work may not be acceptable to all but it is an authentic documentation of what the art world considers a vigorous, sensitive, independent and iconoclastic mind. If one were to see Dizi’s works, untitled and unsigned, it would be difficult to tell that they were all by the same artist. His ceaseless quest for new forms and style; constant experimentation; lack of stereotypes; perfection in drawing and composition and an instinctive understanding of colours stamp him as an enduring and fascinating master artist.” Art historian and former Honorary Director of the National Gallery of Modern Art, Mumbai, Dr. Saryu Doshi concludes: “The life and works of Dizi provide insightful glimpses into the art scene of his times and serve as a valuable documentation of uncharted areas in Mumbai’s art history.” 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「D. G. Kulkarni」の詳細全文を読む スポンサード リンク
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