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Atteqa Ali

(b Aligarh, India, 1937).

Printmaker of Indian birth. Zarina, known professionally by her first name only, received a BSc from Aligarh’s Muslim University in 1958. She worked at Atelier 17 in Paris from 1964 to 1967 and studied woodblock printing in Tokyo. With her works she opens up discussions of dislocation, exile, partition and migration. These loaded topics are handled in lighter ways; her black-and-white pictures do not burden viewers with a lot of visual information. Instead, her imagery relies on the extended meanings of lines and shapes: borders, separation and units, among other things. Her semi-abstract, minimal style does not have the cool formalism that one might associate with the Minimalist movement. Perhaps because she often utilizes the woodblock technique, she softens hard edges and customizes the style to her needs. Her subject matter is, likewise, a personalized interpretation of larger concerns.

Zarina has traversed many boundaries in her life, and much of her oeuvre is about her personal journeys that are both actual and conceptual. She has lived in several places including India, Paris and New York and considers home to be an idea more than a physical structure. In her mind, home is a transitory site that moves along with you. Yet, she made a portfolio of prints, ...

Article

Robert L. Hardgrave jr

(b Antwerp, July 6, 1760; d Antwerp, Oct 10, 1824).

Flemish printmaker and painter. He pursued his early career in Europe as a marine painter, but political unrest and his own insecure position led him to seek his fortune in India. Residing in Calcutta from 1791 to 1804, Solvyns undertook the work for which he is best known, A Collection of Two Hundred and Fifty Coloured Etchings Descriptive of the Manners, Customs and Dresses of the Hindoos. After a limited printing in 1796, the collection was published by Solvyns in Calcutta in 1799 in 12 parts. The first of these, comprising 66 prints, depicts ‘the Hindoo Castes with their respective professions’, while the following sections portray servants, religious mendicants, forms of transportation, modes of smoking, musical instruments, and festivals. Solvyns approached his task as an ethnographer but, lacking the appeal of the picturesque which was then in vogue, the project proved a financial failure. On his return to Europe, Solvyns prepared new etchings from his drawings and produced a folio edition of 288 plates, ...