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K. K. Hebbar
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K. K. Hebbar
Kattingeri Krishna Hebbar (15 June 1911 – 26 March 1996) was an Indian painter and art educator. He is well known for his paintings that captured the social life of the common people in India. Inspired by traditional Indian art, he combined the Western art techniques with his paintings to create a unique style of his own. Painting for Hebbar was about being true to the original self and this is what he tried to achieve in his works. In addition to his paintings, he is also known for his rhythmic line drawings and illustrations.
Hebbar was awarded the Padma Shri (1961) and Padma Bhushan (1989) by the Government of India for his contributions in the field of art.
Hebbar was born on 15 June 1911 in Kattingeri near Udupi, Karnataka in a Tulu-speaking family. He was educated up to the age of five at the local mission school. His father had retired when he was eleven years old. As the family was poor, they made toys, sold them and also made a living from farming. At the age of fourteen, Hebbar got a job at the same school that he had attended. While teaching the play Shakuntala with the help of images, the officer who came to inspect the school noticed Hebbar's artistic talents and encouraged him to take up art education. The latter offered him help and said that if he did not do so, he would suspend him.
After matriculation at the age of twenty one, he started his art education at Chamarajendra Technical Institute in Mysore. But after a brief period, Hebbar dropped out of school, tired of the monotonous and arid climate there, and started working for a photographer in Udupi. After seeing Hebbar's work, the photographer advised him to visit Bombay and study art.
Hebbar arrived in Mumbai in 1933 and began his studies at Nutan Kala Mandir, an art school established by G. S. Dandavatimath. He worked on retouching and enlargement work at the Koparde Studio located in front of the Chhatrapati Shivaji Terminus. Subsequently, Hebbar joined Sir J. J. School of Art and graduated in 1938 with G. D. in Art. In the year that followed, he completed a specialization in mural painting under the mentorship and encouragement of C. R. Gerrard, then director of the School of Art.
Hebbar worked as an art teacher at the Sir J. J. School of Art from 1940 to 1945 and continued to develop his art. Within a short span of six years, he reached the level of well known Bombay artists. Gerrard had later said,"A combination of being a good teacher as well as a good practicing artist is uncommon and Hebbar has combined these rare qualities." After that, Hebbar remained in constant touch with art institutes at different levels and emphasized on the importance of discipline in education. He also presided at several important positions which included the role of chairman at the Artists' Centre, Mumbai (1953-73) and at the Lalit Kala Akademi, Delhi (1980-84).
During the initial days of his career, Hebbar was influenced by the two-dimensional color scheme and line quality of the Indian miniature style. He drew inspiration from various sources including the writings of art historian Ananda Coomaraswamy, art of Jain manuscripts, Rajput and Mughal miniatures, and the murals at the Ajanta Caves. When he met Amrita Sher-Gil in 1939, he was fascinated to see the confluence of Western art techniques with traditional Indian art in her paintings. In 1946, he saw dark brown figures in white clothes on the green fields of Kerala during a study tour in South India. He was reminded of the paintings of Paul Gauguin during his stay in Brittany. After returning to Bombay, he painted a series based on the memories of this tour. Hebbar then traveled to Europe in 1949-50 where he got the opportunity to study Western art. He took a painting course at the Académie Julian in Paris for twenty weeks.
However, after returning from the trip abroad he said,"I was in a somewhat restless and confused state of mind. I've now decided that I'll restart painting from where I'd left off, combining the western elements as and when required." After returning to India, he stayed in Mahabaleshwar for a year due to difficult personal situation. Here he began to develop his style differently and more openly as an artist, wherein he combined different elements with his paintings.
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K. K. Hebbar
Kattingeri Krishna Hebbar (15 June 1911 – 26 March 1996) was an Indian painter and art educator. He is well known for his paintings that captured the social life of the common people in India. Inspired by traditional Indian art, he combined the Western art techniques with his paintings to create a unique style of his own. Painting for Hebbar was about being true to the original self and this is what he tried to achieve in his works. In addition to his paintings, he is also known for his rhythmic line drawings and illustrations.
Hebbar was awarded the Padma Shri (1961) and Padma Bhushan (1989) by the Government of India for his contributions in the field of art.
Hebbar was born on 15 June 1911 in Kattingeri near Udupi, Karnataka in a Tulu-speaking family. He was educated up to the age of five at the local mission school. His father had retired when he was eleven years old. As the family was poor, they made toys, sold them and also made a living from farming. At the age of fourteen, Hebbar got a job at the same school that he had attended. While teaching the play Shakuntala with the help of images, the officer who came to inspect the school noticed Hebbar's artistic talents and encouraged him to take up art education. The latter offered him help and said that if he did not do so, he would suspend him.
After matriculation at the age of twenty one, he started his art education at Chamarajendra Technical Institute in Mysore. But after a brief period, Hebbar dropped out of school, tired of the monotonous and arid climate there, and started working for a photographer in Udupi. After seeing Hebbar's work, the photographer advised him to visit Bombay and study art.
Hebbar arrived in Mumbai in 1933 and began his studies at Nutan Kala Mandir, an art school established by G. S. Dandavatimath. He worked on retouching and enlargement work at the Koparde Studio located in front of the Chhatrapati Shivaji Terminus. Subsequently, Hebbar joined Sir J. J. School of Art and graduated in 1938 with G. D. in Art. In the year that followed, he completed a specialization in mural painting under the mentorship and encouragement of C. R. Gerrard, then director of the School of Art.
Hebbar worked as an art teacher at the Sir J. J. School of Art from 1940 to 1945 and continued to develop his art. Within a short span of six years, he reached the level of well known Bombay artists. Gerrard had later said,"A combination of being a good teacher as well as a good practicing artist is uncommon and Hebbar has combined these rare qualities." After that, Hebbar remained in constant touch with art institutes at different levels and emphasized on the importance of discipline in education. He also presided at several important positions which included the role of chairman at the Artists' Centre, Mumbai (1953-73) and at the Lalit Kala Akademi, Delhi (1980-84).
During the initial days of his career, Hebbar was influenced by the two-dimensional color scheme and line quality of the Indian miniature style. He drew inspiration from various sources including the writings of art historian Ananda Coomaraswamy, art of Jain manuscripts, Rajput and Mughal miniatures, and the murals at the Ajanta Caves. When he met Amrita Sher-Gil in 1939, he was fascinated to see the confluence of Western art techniques with traditional Indian art in her paintings. In 1946, he saw dark brown figures in white clothes on the green fields of Kerala during a study tour in South India. He was reminded of the paintings of Paul Gauguin during his stay in Brittany. After returning to Bombay, he painted a series based on the memories of this tour. Hebbar then traveled to Europe in 1949-50 where he got the opportunity to study Western art. He took a painting course at the Académie Julian in Paris for twenty weeks.
However, after returning from the trip abroad he said,"I was in a somewhat restless and confused state of mind. I've now decided that I'll restart painting from where I'd left off, combining the western elements as and when required." After returning to India, he stayed in Mahabaleshwar for a year due to difficult personal situation. Here he began to develop his style differently and more openly as an artist, wherein he combined different elements with his paintings.
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