Completed in 2011, Geeta Kapur and Vivan Sundaram's digitised archive of modern and contemporary Indian art brings to the public a broad range of material collected by Kapur and Sundaram since the 1960s. The collection not only documents the artwork and writings produced and published thus far during Kapur and Sundaram's prolific careers, but also documents events in India's art community over the last 50 years. The full archive will gradually be made accessible through the Collection Online. For the full collection description, please click here.
Excerpt from Vivan Sundaram, Vivan Sundaram: Re-take of Amrita, Tulika Books, New Delhi, 2001:
'[… ]the never-ending, deserted Great Plain — which, according to Hungarian tradition, can be peopled with imaginary figures — receives her [Amrita’s] family. The picture of her Tolstoyian father, with his flowing, grey beard and puritanical cloths, is not so alien to the landscape as the figures of her mother and daughter dressed in city furs, due to the well-known picture of the elderly Tolstoy gathering crops with peasants and type of picture which developed following from this at the beginning of the century. It is as if they had all been invited as guests to a lovers’ tryst that Amrita is waiting for at the foot of a haystack.' (Katalin Keseru, in a review of Vivan Sundaram’s exhibition in Budapest, 2001.)
Amrita poses beside a haystack for Victor Egan in 1938, soon after their marriage, probably in Kishkunhalas, southern Hungary. In the background, Indira talks to Umrao Singh and Marie Antoinette looks towards the camera. The photograph was taken by a professional photographer on a Budapest street in 1932.
Digital photomontage, printed by Epson Stylus Pro with Ultra Chrome K3 inks on smooth fine art paper, Epson c