Havell : E.B. Havell (1861-1934) came to India in 1884 to take charge of Govt. School of Art, Madras, & worked as its superintendent up to 1892. In 1896-06 he was principal of Govt. School of Art, Calcutta. He left India in 1907. The artistic renaissance of India owes a great deal to him. He was one of the strongest critics of Ravi Varmā’s paintings.
... artistic culture are acknowledged by all who have the faculty of judging both in England and India. Mr Havell has a recognised position in the Page 468 criticism of Art. One may differ from such authorities, but one is at least bound to treat them with some show of respect. Mr Havell seems to have been protected by his recent official position from the writer's disrespect, though his authority ...
... a considerable amount of work has been already done in the clearing away of misconceptions about Indian sculpture and painting and, if that were all, I might be content to refer to the works of Mr. Havell and Dr. Coomaraswamy or to the sufficiently understanding though less deeply informed and penetrating criticisms of others who cannot be charged with a prepossession in favour of oriental work. But... criticism; for Mr. Archer turns also to deal with philosophy in art. The whole basis of Indian artistic creation, perfectly conscious and recognised in the canons, is directly spiritual and intuitive. Mr. Havell rightly lays stress on this essential distinction and speaks in passing of the infinite superiority of the method of direct perception over intellect, an assertion naturally offensive to the rationalistic ...
... 1871-1951) and his elder brother Gaganendranath Tagore (1867-1938). It was the help of Ernest Benfield Havell, who was the Art School's Principal from 1896 to 1906 and who recognized that the whole basis of Indian artistic creation is directly spiritual and intuitive, that made this new thrust possible. Havell persuaded Aban Thakur to become the Art School's Vice-Principal; Gagan Thakur became its energetic ...
... bastard Graeco-Indian school or certain statues which come nearest to a faithful imitation of natural forms but are void of inspiration and profound suggestion. Recently, however, the efforts of Mr. Havell and the work of the new school of Indian artists have brought about or at least commenced something like a revolution in the aesthetic standpoint of Western critics. Competent minds have turned their ...
... nothing of the spirit, meaning or technique of Indian architecture, painting and sculpture. For the first I shall consult some recognised authority like Fergusson; for the others if critics like Mr. Havell are to be dismissed as partisans, I can at least learn something from Okakura or Mr. Laurence Binyon. In literature I shall be at a loss, for I cannot remember that any Western writer of genius or ...
... 487 Haskins, J.H., 455-6 Hastin (Astes/Ashtakārāja), 63 Hastin Parivrājaka, 493 Hastināpura, iv, 4 Hathigumpha inscription, 85, 173, 245, 286, 472, 473, 475 Haug, 281 Havell, 384 Havirdhāna, 78, 96, 122, 123 Hazara district (Punjāb), 451, 452 Hegesander, 237 Heliocles./Heliakreyasa, 275, 586 Heliodora, Heliodorus, 275, 396, 521, 585, 586 Helmund ...
... values. Schools of art were compelled to teach only European art and by European methods. It was only in Calcutta at the end of the last century that an English artist of exceptional calibre, Mr. E. B. Havell, introduced on his own responsibility I "Chinese art has consistent history and is even more persistent than the art of Egypt. It is more than national. 30 Centuries before Christ it began and ...
... and the strangeness of its motives and it is only now, after the greatest of living art-critics in England had published sympathetic appreciations of Indian art and energetic propagandists like Mr. Havell had persevered in their labour, that the European vision is opening to the secret of Indian painting & sculpture. But the art of Japan presented certain outward characteristics on which the European ...
... must remain where he is at present situated in time. The Achaemenids and the Aśokan Monuments Some resemblances between Achaemenid art and Aśokan are understandable, but Havell and K. de B. Codrington 1 have stressed so many essentially Indian characteristics in both subject and inspiration that the charge of direct derivation cannot be upheld. The resemblances should be ...
... with which he does not sympathise. There are other things here than a repetition of hawk faces, wasp waists, thin legs and the rest of Page 295 the ill-tempered caricature. He doubts Mr. Havell's suggestion that these old Indian artists knew the anatomy of the body well enough, as Indian science knew it, but chose to depart from it for their own purpose. It does not seem to me to matter much ...
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