RESTLESS CREATIVITY | A RETROSPECTIVE | THE ART OF SUNIL DAS

Restless Creativity

A Retrospective

The Art of Sunil Das

(1939 – 2015)

March 2019

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A Note

Dear All,

We feel extremely privileged and honored to present works by
Bengal's most lauded modern artist, Padmashree Sunil Das.

His eclectic charged personality, enthusiasm and lust for life was
only too well expressed in the form of his paintings, sculptures and
various multi disciplinary unique art, the genius created.

From the charged horses that he started painting in college, inspired by the morning trots of
the police horses at Kolkata's Fort William, to the paintings of Spain inspired bulls ( the
game of bull fights ) or speaking about the women of the red light district of Kolkata through
his series of paintings; Sunil Das painted his subjects with such energy, sincerity and
passion that turned each subject into legendary symbols, universally sought after by the art
collectors.

Not one to tire, play safe or rest on his laurels, Sunil Das broke all boundaries with his genius
experiments, creativity and an insatiable hunger to put his brilliant mind to paper, each time
coming up with something extraordinary to enthrall his audience, critics, art lovers and
collectors alike.

Where most artists struggled in their initial days, Sunil Das' works found buyers right as he
made them even in college. Crudely put, his works were "Hot Cake".

A show man, magnanimous with a larger than life personality Sunil Das could brighten up
any room as he walked in with his energy and aura, quickly becoming the centre of
attraction and could easily take a group conversation to an eclectic height with his
impromptu poetries.

A closet philanthropist Sunil Das was a Robin-Hood of sorts. Making anonymous
donations and charities to the poor and needy. Often while watching the news covering a
needy or a tragic incident; he would immediately call the news channel and get lakhs
donated to them.

Rightly, been honored with many awards and accolades including the Lalit Kala Awards , Taj
Shiromani and The Padmashree in 2014; Sunil Das is hugely missed by the art world, his
friends and family for his love, warmth, exceptional creativity, mentorship, guidance and
contributions to make the modern art movement of Bengal an epic one.
A man with guts, zeal and enthusiasm of Ulysses; it wouldn't be wrong to say Sunil Das
drunk life to its lees.
He continues to live in our hearts and minds with the memories of his warm loving
personality, and the great-great legacy of his art.
My heartful gratitude to Didi, Mrs. Gita Das (wife of Sunil Das) for her immense confidence,
support, patience and love enabling me to put this show together.
Sunil Da, you live on ( 1939 - ∞ )
A small tribute from a daughter !

Meghna Agarwala
Director

Immensely thankful to Saima Afreen for the
mesmerising and thought provoking poems written
by her on few paintings by Sunil Das.
Saima Afreen is a poet and a journalist. She is the author of the poetry
book titled 'Sin of Semantics' (Copper Coin). Her works have been widely
published in North America, Canada, UK, Europe, South Asia and
Australia. She was awarded Villa Sarkia Writers Residency, Finland in
2017. She's is the recipient of 2019 Charles Wallace Creative Writing
Fellowship at the University of Kent, the United Kingdom.

4 Restless Creativity

Restless Creativity

A Retrospective

The Art of Sunil Das

by Manasij Majumder

Sunil Das (1939-2015) was, among a few of
his peers on the contemporary Indian art
scene, who could be counted on not to go
on delivering the 'same' work year after year for
decades on end. His admirers always
appreciated that Sunil did not rest on the laurels
of his very early success and he never worked for
long with the same idea and image content.
Anybody familiar with the total output of his
career in art will certainly endorse this view. His
works, indeed, bear the unmistakable imprint of a
restless creative spirit, always trying to break
fresh grounds to “Make it New”, (the slogan with
which the British poet Ezra Pound inspired the
young rebels at the beginning of the modernist
movement). Sunil was also aware that 'making it
new', spells what in Robert Hughes' terse
summing up is “the Shock of the New.”

Restless Creativity 5

Benaras, Watercolour on Paper, 22 x 15 inches

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Benaras, Watercolour on Paper
22 x 15 inches

Sunil's very early
works consist of
water colours.
Done as lesson practice
when he was a student
at the art college, they
display his free and
fluent execution in
academic style painting.
But soon he sprang a
pleasant surprise on
everybody in the college,
students and teachers alike, with smart charcoal life drawings of
horses. These horses were, of course, products of the young
Sunil's growing mastery in academic techniques, but he charged
every stroke, every smudge, of sooty black with such energy and
speed that they exceeded the artist's primary brief of producing
sleek and sharp realistic drawings of animals. These works of a
third year student soon fetched him not only fame but awards too
from all over India, including those of the Lalit Kala Academy and
IFACS annual shows.

Restless Creativity 7

Horses, Charcoal on Paper, 29 x 19.5 inches, 1960

But adventurous in spirit, Sunil rode the crest of his early success with no let up in his quest for
a new horizon. He arrived in Paris with the skill he acquired in Calcutta, which stood him in
good stead in his Beaux Arts days. He used this skill to a most spectacular effect in the
charcoals of bulls he speedily did at the live shows of bullfight in Madrid. But of all the shows
he mounted in Paris the Calcutta Sunil reappeared only once in that of the bulls and horses. In
the rest of his Paris shows Sunil was seen fast evolving towards an avant garde artist, deeply
soaked in the spirit of high modernism raging at the time in Western art. His susceptibilities to
the new trends however simply liberated him from the mould of tradition he was cast in
steeped in Calcutta. From his second solo show in Paris Sunil changed the tack. He was
caught up in the latest trends of modernism as he watched the cutting-edge works of artists
like Bernard Buffet, André Masson, Hans Hartung, Matta, Faurtier, Pierre Soulage and others
but while working in his newly acquired Parisian spirit of the avante-garde he took care to
leave a stamp of his own on his canvases.

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Horse, Pastel on Sand Paper, 11 x 9 inches

Restless Creativity 9

Memory of Spain 62
Ink on Paper
14 x 11 inches, 2002

For his second solo show in Paris unmistakably Indian, for which the show
Sunil switched to pure abstraction. was well-received by the French viewers.
His treatment of space, colour and
form was spontaneously daring and This brief background narrative of his
entirely non-schematic, concentrated becoming an avant garde artist is a must
exclusively on a vibrantly interactive read for those to know who visit the first
surface as the principal content of the posthumous retrospective of Sunil's works.
canvases. The trajectory that began during his
student days in Calcutta reached a grand
“Abstract in style but very bold in finale in Paris. It stretched from the
expression” commented Paritosh Sen, who traditional values celebrated in the western
recalled, in an article in Desh, having seen old masters to the height of Modernism, the
Sunil's abstract canvases in Paris. spirit of which he imbibed in every vein
while living in the contemporary art world of
But within the next two months Sunil Paris and interacting freely with the
shifted from pure abstraction to canvases international art scenario there. It prefaces
sporting symbolic motifs. Done in oil, with a the course of his art practice for the rest of
loaded brush laying relief-like heavy his life.
impastos, the images exuded something

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Drawings

A multidimensional artist, Sunil was abstract images with the speed and energy
always furiously experimental and of his gestural scrawls and smudges. That
most daringly indulgent with his is why his art moves with an inner
creative freedom. His drawings bear the full dynamism of all its visual components.
impact of that untrammelled free-wheeling
of Sunil's art practice. A drawing of a horse with a mounted rider
(1960) is a fine instance in point. It is not
In one of the drawings Sunil once scrawled entirely unlike any of the early charcoal
the words “Art Moves” as part of his textural horses of Sunil. The horse is in a trotting
scribbling on the undrawn space. His art posture but the wall of vertical lines behind
indeed moved but not in a simple straight and the dark smudgy shades that
line. It often reverted to subjects and styles silhouette much of the horse and its rider
he had left behind years ago. His art exude an uncertain meaning. Is it a study
practice often swung between figuration for a sculpture standing still or an image of
and abstraction and sometimes settled for a rider about to gallop away? Its dynamic
a mix between them. And, of course, he expressiveness resides in the conflicting
knew how to charge a figurative form with narratives it evokes.
expressive abstraction and to enliven

Untitled, Ink on Paper,
8.5 x 7 inches, 1960

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Untitled, Ink & Charcoal on Paper,
8.5 x 7 inches, 1965, GK 101

In the sixties Sunil's art was often Untitled, Ink, Pastel, Charcoal on Paper
seen to feature a dialogic 8.5 x 7 inches, 1965, GK 102
discourse between the figurative
and abstract. This is evident in each Under Water Series, Ink & Acrylic on Board,
of which a mass of abstract but 23 x 16.5 inches, 1965 (Image on Right)
bristly spectral smudge in ominous
black seems to attempt violation of a
nude female evoked in a fairly clear
figurative drawing. In both of them a
menacing shadow of mysterious
darkness extends its demonic hands
to trap the victim in a frightful
embrace.

In the mid sixties again he explored diverse cults of popular ritual for pictorial ingredients of an 12 Restless Creativity
evocative mystic symbolism. An ink-and-wash of 1965 features a figurative image of
ambiguous connotation. The motif looks like a cult image worshipped by people practising
primitive religion. A squat but monumental figure, it has for each hand several reptilians
snaking down from shoulder to the finger-tips, for legs a pair of beastly fore-paws and its dark
oval totemic frame is inlaid with odd shapes and forms, slimy tadpoles, shells and cowries
with their toothy undersides. They seem to have been set as the deity's entrails and other
internal organs. This drawing is a spin-off from Sunil's paintings of the Tantra and Underwater
series of the same decade.

Restless Creativity 13

Around the seventies, Sunil did a lot a Span drawing (GK013) this fragmentary
jottings on the printed pages of Span nature of his pen-and-ink jottings is best
magazine, known as his 'Span drawings'. evident. The page has boldly printed title
Done in an absolute free-wheeling manner, words “First Fourth”, and a facsimile print of
these jottings are of uneven character and the last portion of the Declaration of
vary from frame to frame. Sometimes they American Independence. The major
tend to be merely fragmentary in nature, pictorial content on the page, a fallen
filled with unrelated scribblings and scarecrow puppet, pounced upon by a
scrawlings in and around solidly inked violent angry bird, is not only unrelated to
figural motifs or a full-fledged detailed the page's printed content but is entirely out
drawing, abstract, semi-abstract or of tune with the love lyric inscribed on the
figurative, of no regular identity. In a 1970 top of the page.

Untitled, Span Drawing & Jottings on Printed Page of Here in this jotting and others like
Span Magazine, 12 x 9 inches, 1970, GK 103 this, Sunil not only achieved a
radical break with what he had
done before but also dared to go beyond
modernism. Up till 1970 Post-
Modernism earned no major recognition
even in the West, except for that which
Irving Sandler specifies in his, Art of
Postmodern Era (1996) as “multivalence,
inclusiveness, and eclecticism”. These
high-sounding words, however, may
simply mean what we have noticed in
the above jottings of Sunil. The picture
has, as we have seen, three unrelated
contents — private emotion expressed in
words of poetry, a historical reference to
American Independence by
appropriating the printed content of the
Span page and finally a figurative
drawing proper, probably metaphorically
critiquing a situation of social violence.
Its appropriation of poetry quote and
printed text defies exclusiveness and
autonomy of high Modernism. And what
makes it eclectic is its outsourcing of
multivalent content from non-pictorial

14 Restless Creativity

arts like poetry and Untitled, Drawing Ink on Paper, 13.75 x 10.5 inches, 1973, GK 021
history. Sunil's
sallies into Drawn in Fine Hatching on fluent lines here the
unbeaten tracks horses are battling against some dark cave-
however didn't front which seems to be sucking them in and
clash with the disgorging their dismembered limbs around.
regular pattern of
his art practice Untitled, Drawing, Ink on Paper, 14 x 11 inches, 1977, GK 014
marked by break
and continuity. But
his break and
continuity often go
hand in hand. It is
evident not only in
his handling of tradition with avant-
garde gusto, fusing figuration with
abstraction. He embraced modernist
avant-gardism by delinking art entirely
from reality beyond the pictorial frame,
as is evident, in his numerous canvases,
drawings and prints in which he deftly
evoked images of pure abstraction. But
he was too much concerned with the
intractable nature of human reality to
avoid figuration. If abstraction marked
his breaks, his continuity was his
coming back again and again to the
figurative. In the seventies eighties and
nineties his drawings sported human
figures, male and female, without any
trace of the residual humanistic
optimism of the early to mid-20th
century modernist art like that of
Picasso and Matisse. In a drawing of
1973 (GK 021) the horses are no longer
the gracefully shining and elegantly
trotting animals of his early charcoals.
Drawn in fine hatching and fluent lines,
here they are battling against some dark
cave-front which seems to be sucking
them in and disgorging their
dismembered limbs around.

Restless Creativity 15

In the images of men and women too the along with figurative elements.
characters are always in the thick of There is nothing cerebral or formally
conflict, entangled with the forces of pleasurable about them or of pure
darkness within or without, represented modernist aesthetic of form-content
by shapes of abstract smudges or those synthesis. In two frames of 1977, GK 104
of demonic features. The dark ‘machine' and GK 018, each showing a solid black
seems to eject naked male or female head be it a demonic one, or a plain
bodies, their writhing limbs sticking out, human face, Sunil displays his zest for
heads and faces engulfed by darkness. modernist formalism, especially in the
Sometimes not limbs or torsos but latter. The former is a study for an oil with
tubular blood vessels with hollow cut- detailed notes chalking out the colour-
ends emerge from the pool of blacks. scheme for the final painting. Even as a
Obviously, much of the agony and study, with its face of demonised
anguish is given visual sharpness through humanity, it leaves nothing uncertain
formal distortion, smudgy patches of about its content. The face in the latter
blacks and brisk flurries of doodles, shows the typical Cubist distortion of
scrawls and hatching, often in hairy lines, form, lending it a double viewpoint.

Untitled, Ink on Paper, 14 x11 inches, 1977 (Image on Right Side)

Untitled, Ink on Paper, 14 x 10 inches, 1977, GK 104 Untitled, Mixed Media on Paper,
13.5 x 10.5 inches, 1979, GK 018
a small portion of this work has undergone restoration

16 Restless Creativity

Restless Creativity 17

18 Restless Creativity

In the drawings of the nineties Sunil seems animal limbs and torsos. Despite scattered
worried about a bleak future for humanity. and disintegrated figures layered with
“The day is coming” when “one could very scrawls and patches of solid black it is not a
well say mankind is not capable of living (?) battle scene but an image of the artist's
without armed conflict” is inscribed in not a anguished self, a clue to which is fairly
very legible hand on the margin of an ink- given on top of the frame in a scrawl of
and-colour-wash dated 1992 (GK136). The inscription : “Born nine teen Thirty nine in
pictorial space is cluttered with human and Calcutta” (sic), the artist's own date of birth.

Untitled, Coloured Ink, Water Colour & Acrylic on Graph Paper
18 x 12 inches, 1992, GK 136 (Image Left Hand Side)

Restless Creativity 19 In his drawings of the seventies,
eighties and nineties Sunil
creates a new visual idiom
fusing the abstract and the
figurative, regular drawings with
brisk doodles, clean lines with
textural scrawls, dense hatching
with smudgy patches of ink and
makes a meaningfully
integrated image out of
fragmentary pictorial contents.
In the drawings he turned out in
the last decade of his life, Sunil
appears partly cured of his
traumatic vision of the destiny of
mankind. In these drawings,
done in tidy bold lines, mostly of
human figures and often of
erotic female nudes, the artist is
concerned more about art and
its formal essence than the
intractable human reality.

Master Artist Sunil Das in his Studio

Love Pair, Pen Drawing, 9 x 7 inches, 2011 Nude (1), Pen Drawing, 7.5 x 5.5 inches, 2011 Nude (2), Pen Drawing, 11 x 7.5 inches, 2010

Face (1), Pen and Ink on Paper, Face (2), Pen Drawing, 9 x 7 inches, 2012 Ganesha, Pen Drawing, 10 x 6.75 inches, 2012
9 x 7 inches, 2012

Bull, Pen Drawing, 10 x 7 inches, 2010 Horse, Pen Drawing, 9 x 7 inches, 2012 Galloping Horse, Pen Drawing,
8 x 7.75 inches, 2013

20 Restless Creativity

Figures, female torsos in frontal nudity, a crouching Ganesha, Ink on Paper,
cow and a horse and a galloping horse, profiles of 9.25 x 7.25 inches, 2012
human faces, are all knocked into unlikely shapes
entirely by means of free-wheeling lines as a pliant Bull, Mixed Media on paper,
tool of delightful distortion. Distortion is delightful, 9.25 x 12 inches, 2011
often funny, no doubt, especially when it comes to
the female nudes and a love-making pair (Love
Pair) but not without a punch of irony critiquing the
shade of ugliness in the fleshy feel in all of them.
The exceptions are the faces such as the profiles of
bearded men (Face 1, 2) in which the content is a
mere excuse for the lines to create a pattern of
untrammelled playfulness. Of course the Japanese
face (Portrait) attempts a straight portrait but for
the cartoonish exaggeration of the chin and cheek.
It is not easy to figure out the mask-like face with a
long coiling snout not unlike that of an elephant's
trunk. But Sunil has added details to make it look
unlike the face of the well-known animal-headed
Hindu god. The other two drawings, one evoking
silhouettes of a matador and a bull and other
showing an old horse are Sunil's nostalgic throw-
back to the first flush of his youth. Sunil did these
drawings obviously in a playful mood, even though
the serious artist in him can be glimpsed in all of
them. Probably the most playful work is Three in
One, in which he probably designs an absurd but
funny China clay teapot, squeezing into the pot
shape, the face of a fairly tale goblin and a squatting
horse.

Restless Creativity 21

Paintings

Confrontation, Oil on Canvas,
7.5 x 7.5 inches, 1983 GK 133

Sunil did many of the drawings as Confrontation (GK133, 169), Sunil builds up
preparatory studies for his this backdrop with white-upon-white
paintings, but unlike his drawings paints, fretted with pencilled or brushed-in
his paintings have progressed series by graffiti, straight lines and dashes,
series. While drawings are those which he sometimes with arrowheads (GK 107) or a
did after his early charcoals more often focusing circle which animate the lone,
‘loose sallies of mind', a pouring out himself aged male or female figures. The
directly on to paper like the smooth flow of distraught character, a tormented soul,
ink from his pen, paintings are preceded by may suggest different things to different
a good deal of conceptual and formal viewers but always something of solemn
planning. Throughout his creative career existential significance. Sunil's concept of
Sunil has never used landscape even as the world environment which man inhabits
minor part of an image content. As in his today embraces the totality of the human
drawings in his paintings, too, he had a life- plight what he encounters within himself
long engagement with inescapable reality and in the world outside in his constant
confronting man from within or without. battle to cope with existential forces at all
levels, spiritual and worldly, intellectual and
Hence the major motifs in his drawings and physical as well as social and political. It is
paintings are naked human bodies, male or for this that Sunil was christened by a critic
female, or their dismembered limbs or as, 'a philosopher with no message'.
portrait heads, bloody and battered, on an
abstract backdrop. In the paintings, titled,

22 Restless Creativity

Confrontation Series, Oil on Canvas, 57.5 x 65 inches, 1986, GK 169

Restless Creativity 23

Head I, Mixed Media on Board, Head II, Mixed Media on Board,
7.25 x 7.25 inches, 1986, GK 107 7.25 x 7.25 inches

Three Heads I, II, and III from the head painted gory red and the third one reddish
series of the eighties and nineties are orange. Head I is the weirdest of all. It has a
imaginary faces given the most unusual cold and keen gaze in its asymmetrical
visuality, morphing the common into the eyes set in the part of the face around its
uncommon. One may recall Souza's Heads, bloody nose which looks peeled to bare the
especially that of 1961. But Sunil has his skull beneath the skin. The stocky, heavy-
own mode of lending the ordinary human necked face in Head III, with his double
face the most striking contours through barrel nose and a cigarette held between
varied formal disorientations both lips looking at the viewer rather relaxedly is
ingenious and visionary. One can glimpse also weird no doubt but not as much as its
in these grotesque portrait heads the counter-part in Head I. The character in the
piquant vivacity of Sunil's vision of the water colour Head II with dilated pupils in
world within and without, brought under his white pouchy eyes, ashen lips, column-like
probing gaze and fleshed out in diverse thick neck and throat has an uncanny
faces of fun and fantasy, fear and fuss, mask-like face. His is the weirdness of a
agony and anguish, of bizarre and weird de-characterized human face with no
distortions. What is remarkable is that the demonic distortion of the contour lines. In
three faces are different from one another all the three portrait heads Sunil plumbs the
even in their grotesqueness, though all of depth of human unconscious to dig out
them have one thing in commona tensely from its core darkness Man's terror and
arched bald pate, and two of them are trauma, his buried intent and impulses.

24 Restless Creativity

Head III, Mixed Media on Board,
10 x 8 inches, 1997

Restless Creativity 25

Two watercolours, Mangoes and Apples are two very exceptional frames in the entire
oeuvre of Sunil. He never did any still-life and here he came close to the genre, or
rather he gave it a new dimension by not following the convention of arranging
plucked flowers and fruits in interior domestic setting. The fruits here are parts of nature,
hanging ripe from the tree even though the trees are not in botanically correct delineation. A
human hand is shown extending to pluck the fruit, the largest one in Mangoes, which itself
contains a narrative structure generating a specific meaning and thereby it exceeds the
brief of the genre.

Apples
Mixed Media on Paper

20 x 30 inches, 2008

(Image Right-Hand Side)

Mangoes, Mixed Media on Paper, 20 x 30 inches, 2007 26 Restless Creativity

Restless Creativity 27

Novel Modes Of Image-Making

Sunil's creative Untitled, Acrylic Relief & Mixed Media on Paper pasted on Foil, 28 Restless Creativity
restlessness is 9.75 x 6.5 inches, 2009
also instanced
in his constant quest
of novel modes of
image–making. We
have seen his use of
Span magazine pages
but that is not all. He
used newspaper
flongs of old Rotary
press days and would
often paste junk
objects, coins etc, on
the canvas to lend his
abstract images a
tactile dimension of
concrete reality.
Sometimes he would
take silver or gold
colour foils and
scratch irregular lines
and forms on the
reverse side which
appeared in relief on
the surface. He would
also burn holes in
different shapes on the
foils with a blow torch
and paste them on
canvas or paper
painted black. The
result is an abstraction
of shining gold
(Untitled 2009)
through which breaks
out a dark void as if to
undo the surface
illusion.

Untitled, Acrylic Foil Burn, Metal Screens,
Acrylic Paint, Metal Wire on Board
(Three Dimensional Work)
6 x 6 inches, 1994, GK 111

This burning mode he also used in his
drawings and paintings in which a
silhouette of head is blow-torched to burn
holes in order to reveal a red glow of the
colour in the base surface underneath
(1994 GK 111, 112). The novelty doesn't
end there. The artist fastened the picture,
as a metal plate, to a plywood support
with screw-bolts on four corners, as if he
was working not as an artist but as an
artisan.

This posthumous retrospective ideally
projects Sunil as an artist with a restless
creative impulse, who, rooted in tradition,
reoriented his art to High Modernism and
ever went on remaking himself to venture
to go even beyond that.

Manasij Majumder Untitled, Acrylic Foil Burn, Metal Screens, Acrylic Paint,
Metal Wire on Board (Three Dimensional Work),
Restless Creativity 29 6 x 6 inches, 1994, GK 112

Born in 1938, Manasij Majumder, served as Reader in English literature at Sri Chaitanya College, Calcutta University; but through
out his teaching career he regularly contributed articles on Art, Theatre, Dance and other cultural events in various Newspapers
like Hindustan Standard, Sananda, Desh, Ananda Bazar Patrika, The Telegraph etc. He continues to write on Art, Profiling Artists
as well as doing full length studies on several Major Artists. Various Coffee Table Books have been published on Artists and Art of
the likes of Master Artist Sakti Burman, Bikash Bhattacharya and on Sunil Das, in a book titled Art Moves , which has been told to
be one of the best books in Asia.

HORSES & BULLS 1960 - 1962

30 Restless Creativity

Horse I & II, Pastel on Sand Paper,
11 x 9 inches

Restless Creativity 31

Horse III, Pastel on Sand Paper,
11 x 9 inches

Horse IV, Coloured Pastel on Paper, 10.5 x 8 inches

32 Restless Creativity

Horse V & VI, Pastel on Sand Paper,
11 x 9 inches

Restless Creativity 33

EARLY HORSES

Early Horses I, Conte on Paper 29 x 18.5 inches 1960
Early Horses II, Conte on Paper 32 x 21 inches 1960

34 Restless Creativity

Restless Creativity 35 Early Horse III, Conte on Paper, 31 x 20.5 inches 1960

Early Horse IV, Charcoal on Paper,
29 x 19 inches, 1962

36 Restless Creativity

Early Horse V, Charcoal on Paper, Restless Creativity 37
28 x 18.5 inches, 1960

Early Horses VI, Charcoal on Paper, 29 x 19.5 inches, 1960

38 Restless Creativity

Early Horses VII, Charcoal on Paper, 29x 18.5 inches, 1960

Restless Creativity 39

Early Horses VIII, Charcoal on Paper, 29 x 18.5 inches, 1960

Early Horses IX, Charcoal on Paper, 34 x 21 inches, 1960 40 Restless Creativity

Early Horses X, Charcoal on Paper, 34 x 20.75 inches, 1960

Restless Creativity 41

Bull I, Charcoal, & Oil on Board, 27 x 27 inches, 1962

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Early Horses, Oil on Board, 24 x 29.5 inches, 1959-60

Bull II, Charcoal, Acrylic, Mixed Media,
7 x 8 inches, 1962

Restless Creativity 43

INK DRAWINGS

Untitled, Ink on Paper, 14 x 11 inches, 1980

44 Restless Creativity

Untitled, Ink on Paper, 13.25 x 8.75 inches, 1977 Restless Creativity 45

Untitled, Jottings, Pen and Ink on Paper
13.5 x 10.5 inches, 1980

Untitled, Pen and Ink on Hand-made Paper
13 x 9.5 inches, 1983

46 Restless Creativity

Untitled, Jottings, Pen & Ink on Graph Paper
18 x 14 inches

Untitled, Pen & Ink on Graph Paper
17 x 13.5 in, 1993

Restless Creativity 47

(i) (ii)
(iii) (iv) 48 Restless Creativity