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297:. The characteristic of Chavda's artworks were the rhythmic lines, which he used to capture the motion and movements in the picture by sketching them quickly. In his paintings, he brought life to the image by using vivid colors while maintaining the predominance of sketched lines. Describing his approach to art, Chavda said:
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described Chavda as the master of mood and movement. Raman writes that he could capture a given moment with uncanny accuracy and spontaneity. Further, the writer mentions that the studied casualness of his line was deceptive, for there was a good deal of concentration and preparation behind it. "He
375:, Prof. O. C. Gangoly wrote that Chavda successfully extracted the lessons from modern European art. He did not confine himself to Western modernistic techniques but also drew valuable lessons from the traditions of old Indian sculptures, which was demonstrated in his studies of the sculptures of
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in Mumbai. This was followed by a one-man exhibition in 1946 at the
Silverfish Club and another in 1947 at the Princes' Room of the Taj Hotel which was inaugurated on 15 January 1947. The latter show included a series of paintings made during his visit to
170:(11 December 1914 – 18 August 1990) was an Indian painter, illustrator and muralist. Known for his dynamic line drawings and paintings, Chavda's work mainly showcased the dancers and musicians from India and Southeast Asia.
450:. He also painted commissioned portraits for various government and private organizations. Chavda was invited by the Assam government to portray the diversity of tribal life in Assam. Additionally, he had provided line drawings for
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Correctness of colour does not matter. I even distort the figures to give them character and create designs with them. I find no pleasure in actually reproducing life as I see and paint realistically; where is creative imagination
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painted the Indian scene with the sardonic precision and detachment of an observer, rather than with the passion and abandon of one involved in it", quotes Raman. He also suspected that Chavda secretly prayed at the shrine of
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Chavda was fascinated by the dynamic movements of individuals and groups of people engaged in their chores, dancers in various forms, and musicians showcasing their style and rhythm. He usually painted on canvas in
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The subject matter was expressed by Chavda by systematically laying out the basic elements of a drawing like lines, shapes, rhythm etc. He created colorful drawings and sketches based on Indian dance forms such as
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for the first time. Chavda was among the thirteen artists from India who had exhibited in the Indian section of this event. Chavda was also a part the Bombay Group which included artists like Hebbar,
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etc., and drew numerous sketches and pen-ink drawings. He used to visit the zoo and sketch various animals, their movements and postures. He also made many sketches and colorful pictures of
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combined with self-study, he completed the three-year course in two years itself, graduating with a fine arts diploma in 1938. A few months later, he also trained at the
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During his stay in Europe, Chavda mastered the techniques of murals, lithography, painting restoration, as well as theater stage design with the
Russian artist
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After passing the art diploma examination in 1935, he was awarded the Sir Ratan Tata
Scholarship in 1936 for further studies and secured admission in
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Gradually, Chavda started to portray his subjects in an abstract style using the same colours and textures that were applied in his early artworks.
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190:. His father Dhanjibhoy was a trader and his mother's name was Hillamai. He completed his school education in Navsari and joined the
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Encyclopaedia visual art of
Maharashtra : artists of the Bombay school and art institutions (late 18th to early 21st century)
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The artworks of Chavda are housed in the collections of several local and foreign collectors, museums and art galleries such as
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Lee, Rachel (2020). "Hospitable
Environments". In Lee, Rachel; Dogramaci, Burcu; Hetschold, Mareike; Lugo, Laura Karp (eds.).
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to name a few. This group organized six major exhibitions from 1957 to 1962 which was well received by the art community.
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839:. Migrating Artists and New Metropolitan Topographies in the 20th Century. Leuven University Press. pp. 249–268.
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Hospitable
Environments: The Taj Mahal Palace Hotel and Green's Hotel as Sites of Cultural Production in Bombay
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1250:"'His life was a dedication to the arts': Shiavax Chavda's children talk about his retrospective exhibition"
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as a subject. Additionally, he studied the folk art, folk dance and architecture of
Indonesian islands like
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had requested Chavda to create paintings on Christ-theme. The latter painted
Biblical pictures such as
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Chavda died on 18 August 1990 in Mumbai at the age of 75. A retrospective of his works was held at
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In 1947, Shiavax married
Khurshid Vajifdar, an expert in Indian classical dance and sister of
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774:] (in Marathi). मुंबई: साप्ताहिक विवेक, हिंदुस्थान प्रकाशन संस्था. pp. 147–149
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in 1943 and other set of artworks created during his stay in the remote villages of
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Chavda's first solo exhibition was held in 1945 at the
Princes' Room of the
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Annual Report of the Sir J. J. School of Art, Bombay, for the year 1934-35
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994:. Anand, Gujarat: Gujarat Sahitya Prakash. pp. 29, 39, 64–65.
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in 1986. He was also adjudged as the 'Artist of the Year' by the
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1333:"Indian Master's Retrospective - Shiavax Chavda (1914 - 1990)"
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among others. He had created murals for the Mumbai offices of
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in 1993 and 2017. Another retrospective was organized at the
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through sketches and subsequently developed his own style.
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and worked as an art director with a well-known film unit.
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in London. Under the guidance of eminent teachers such as
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Nadkarni, Dnyaneshwar (March 1988). Kaul, Manohar (ed.).
1193:"Chavda, Shiavax D. | V&A Explore the Collections"
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as well as ballet dance forms of Europe. He also used
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715:"Paintings by S. D. Chavda - Exhibition at the Taj"
571:dancer and a son named Pervez who is an architect.
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922:. Bombay: Sudhangshu Publications. pp. 17–20.
279:Sketch of a Bharatanatyam dancer by Shiavax Chavda
991:Christian Painting in India Through the Centuries
446:and the buildings of People's Insurance Company,
487:in 1946. In May 1951, India had participated in
216:. After his return to India in 1939, he studied
804:(First ed.). Mumbai: Pundole Art Gallery.
339:as images or symbols in his artworks. In 1949,
448:National Centre for the Performing Arts (NCPA)
355:style which were exhibited in Rome during the
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1720:Sir Jamsetjee Jeejebhoy School of Art alumni
1116:Sadwelkar, Baburao. Doshi, Dr. Saryu (ed.).
666:. New Delhi: INFA Publications. p. 78.
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1105:. Seattle: University of Washington Press.
1065:: CS1 maint: location missing publisher (
772:Artists' Encyclopedia Vol. 6 - Visual Arts
694:: CS1 maint: location missing publisher (
224:. He was also briefly associated with the
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916:Thacker, Manu; Venkatachalam, G. (1950).
764:बहुळकर, सुहास; घारे, दीपक, eds. (2013).
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1725:Alumni of the Slade School of Fine Art
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942:[Chavda, Shiavax Dhanjibhoy].
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525:Tata Institute of Fundamental Research
458:. Furthermore, he was associated with
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798:Bahulkar, Suhas, ed. (2 March 2021).
313:Folk dancers (1967) by Shiavax Chavda
7:
1055:. Vol. 92. Kolkata. p. 45.
1049:"Recent trends in Modern Indian Art"
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630:"Shiavax Chavda (Indian, 1914–1990)"
402:Notable paintings of Chavda include
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1274:Doctor, Geeta (21 September 2016).
767:शिल्पकार चरित्रकोश खंड ६ - दृश्यकला
748:. Tokyo: Kyo Bun Kwan. p. 163.
517:Baroda Museum & Picture Gallery
178:Chavda was born in a middle class
14:
1700:Fellows of the Lalit Kala Akademi
1300:"Shiavax Chavda: Grace on canvas"
529:Jehangir Nicholson Art Foundation
293:style, applying the paint with a
226:Bombay Progressive Artists' Group
1710:20th-century Indian male artists
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220:and took elementary lessons in
207:Académie de la Grande Chaumière
604:Raman, A. S. (1 August 1974).
521:National Gallery of Modern Art
182:family on 11 December 1914 in
1:
1088:. Vol. 218. p. 192.
919:Present day painters of India
606:"Contemporary Indian Artists"
236:Initially, Chavda painted in
1715:20th-century Indian painters
1276:"Artist of the dancing line"
1220:"Lalit Kala Akademi Fellows"
1168:"Shiavax Chavda 1914 – 1990"
1047:Gangoly, O. C. (July 1952).
723:. 16 January 1947. p. 3
549:Fellow of Lalit Kala Akademi
143:Fellow of Lalit Kala Akademi
1567:Vinayak Pandurang Karmarkar
1082:"How Modern is Indian Art?"
1080:Raman, A. S. (April 1971).
684:. Bombay. 1934. p. 57.
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1198:Victoria and Albert Museum
967:"Chavda: The Golden Years"
547:Chavda was elected as the
537:Victoria and Albert Museum
1705:Painters from Maharashtra
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1618:Karl Jamshed Khandalavala
988:Lederle, Matthew (1987).
940:"चावडा, श्यावक्ष धनजीभॉय"
611:Indian and Foreign Review
553:Government of Maharashtra
392:Henri de Toulouse-Lautrec
238:Victorian realistic style
168:Shiavax Dhanjibhoy Chavda
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16:Indian artist (1914–1990)
1730:Parsi people from Mumbai
742:Takenaka, Masao (1975).
199:Slade School of Fine Art
174:Early life and education
104:Slade School of Fine Art
1426:Benode Behari Mukherjee
1142:"Shiavax Chavda | JNAF"
1099:Gargi, Balwant (1966).
845:10.2307/j.ctv16qk3nf.16
663:India Who's Who 1980-81
587:Art Gallery in 2018.
382:The Contemporary Review
192:Sir J. J. School of Art
99:Sir J. J. School of Art
1501:Ram Gopal Vijayvargiya
543:Awards and nominations
476:Taj Mahal Palace Hotel
379:. Another article for
349:Death of Pope Pius XII
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222:Indian classical dance
218:Indian classical music
1102:Folk Theater of India
1008:Raman, A. S. (1952).
745:Christian Art in Asia
462:for some time at the
456:Folk Theater of India
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1516:Bikash Bhattacharjee
1456:Pakhal Tirumal Reddy
1010:"Art in India Today"
720:The Bombay Chronicle
581:Jehangir Art Gallery
1562:D. P. Roy Choudhury
1342:. 12 December 2018.
1306:. 25 October 2017.
1086:Contemporary Review
1506:Ranbir Singh Bisht
1397:Lalit Kala Akademi
1224:Lalit Kala Akademi
1118:"Contemporary Art"
511:Public collections
464:Bombay Art Society
369:In an article for
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1608:Ravishankar Raval
1496:Svetoslav Roerich
1476:K. G. Subramanyan
1053:The Modern Review
938:नेने, डॉ. गोपाळ.
854:978-94-6270-226-4
811:978-81-89010-11-9
505:Baburao Sadwelkar
470:Major exhibitions
372:The Modern Review
358:Jubilaeum maximum
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