catalogues by Robert J Del Bonta
Indian Paintings: Nobility, Divinity, and Festivity, 2024
This Art Passages catalogue was for Asia Week in New York City 2024
FAB Paris, Art Passages, 2023
This catalogue was an exhibition at FAB (Fine Arts La Biennale Paris), November 2023.
Art Passages Fabled Lands Indian and Persian Paintings, 2023
I am pleased to present this collection of Indian and Persian paintings dating from the 15th to 1... more I am pleased to present this collection of Indian and Persian paintings dating from the 15th to 19th century. These paintings are often illustrations of various literary sources that emerged from India and Iran, the fabled lands, over the millennia. Of several noteworthy Indian paintings in this exhibit, the painting of A Leviathan Attacks Hamza and his Men (no. 2) displays the Bikaneri talent in asimilating the Mughal idiom of encapsulating action in a small window with great refinement. Worship of a Linga Shrine (no. 4) is another fine painting from the Bikaner court, synthesizing the Mughal and Deccani idioms into an exuberant and pleasing image. Going into the 19th century, considered by some a century of decline of Indian painting, the painting of a Nobleman in a Garden Terrace (no. 12), shows that the art of painting was very much alive. Its exquisite details display great panache by the artist. As a portrait it equals the finest from centuries past. from a Shahnama of Firdausi manuscript India, Mughal, ca. 1600-05 Ink, opaque watercolor, and gold on paper Folio 12 x 7 ¼ in (30.5 x 18.4 cm) Painting 6 ¼ x 6 ¾ in (15.9 x 17.1 cm) Another folio from this Shahnameh is in the David Collection, Copenhagen, no. 48/1973 titled 'The Slaying of Siyawush'. Dramatic cranes across the sky are seen in both these paintings.
Art Passages: Delightful Images Indian Paintings, 2022
The Pursuit of Salvation, New Orleans Museum of Art, 2021
I am grateful to everyone who made this project possible. In particular, I would like to acknowle... more I am grateful to everyone who made this project possible. In particular, I would like to acknowledge Dr. Del Bontà for his scholarship and Lisa Rotondo-MCord, NOMA's Deputy Director for Curatorial Affairs for her leadership in both conceptualizing and implementing the exhibition and publication plan. I would also like to thank NOMA's Registrars and Art Handling team, who have installed the gallery with their usual care and expertise, and Mary Degnan, our Creative Design Manager, who provided the elegant catalogue design. Of course, my greatest appreciation goes to Sid, whose generosity is only matched by his passion for collecting. As we come to the close of a tumultuous year, I am especially appreciative of the opportunity to present works of art created in the service of Jainism. Non-violence, or non-injury, is one of the fundamental tenets of the faith-a belief that extends to all living things. The works of art presented in this catalogue and exhibition embody this fundamental value and serve as potent reminders for all of us.
Arte Sacra Roman Catholic Art from Portuguese India, New Orleans Museum of Art, 2021
Arte Sacra Roman Catholic Art from Portuguese India, New Orleans Museum of Art, 2021
Divine Visions, Earthly Pleasures, Berkeley: BAMPFA, 2017
From the very earliest times, a range of stylistic possibilities was open to Indian painters. Div... more From the very earliest times, a range of stylistic possibilities was open to Indian painters. Divine Visions, Earthly Pleasures highlights many appealing styles and trends found in this rich tradition. The Indian artist constantly plays with various, even conflicting approaches, such as realism and abstraction, often within a single work. Perhaps confusing at first, upon closer inspection this layering of artistic conventions can be subtle and sophisticated. The play of line and color, sometimes strikingly juxtaposed, illustrates a virtuosity not often found in other artistic traditions. The Indian artist uses a variety of conventions to create space, as well, often employing a number of different visual points of view in a single work. The architecture can recede into space in one part of a painting and appear as flat, two-dimensional space in another.
Portland Art Museum, 2017
art Passages: Of Love, Epics, and Kingship, 2020
The vast corpus of Indian paintings from the 17th, 18th, and 19th centuries is in fact visual dep... more The vast corpus of Indian paintings from the 17th, 18th, and 19th centuries is in fact visual depictions of recurring themes in Indian mythology, religion, and literature. As poets wrote poems of adoration and exultation for the gods and goddesses to be sung in celebrations or gatherings of both the common people and the nobility, the artists created their own visual narratives of the poetry.
Divine Visions Worldly Lovers, 2007
The Janeff collection of Indian paintings highlights many appealing styles and trends found in In... more The Janeff collection of Indian paintings highlights many appealing styles and trends found in Indian art. From the very earliest times a range of stylistic possibilities was open to the Indian painter. Many features continue to be found throughout the entire history of Indian painting. The Indian artist constantly plays with various approaches-conflicting ones such as realism and abstraction-and often within a single work. Perhaps confusing at first, upon closer inspection this layering of artistic conventions can be subtle and sophisticated. With the advent of the Mughal style, associated with a Muslim dynasty founded in the sixteenth century and ultimately ruling most of North India, European realism was introduced, particularly in the portrait tradition. The accomplished academic style developed in Mughal ateliers combined Indian and Persian styles with Western realism. This in turn influenced many of the courtly styles throughout northern India.
Art Passages: Courtesans and Kings, 2008
Art Passages: Painted Jewels , 2017
Old exhibitions with no catalogues by Robert J Del Bonta
Jaina Art section from Divine Encounters, Earthly Pleasures: Twenty Centuries of Indian Art, gues... more Jaina Art section from Divine Encounters, Earthly Pleasures: Twenty Centuries of Indian Art, guest curator for the University of Michigan Museum of Art, Ann Arbor, December 2003–February 2004.
Jainism: Religion of the Spiritual Victors
guest curator, Asian Art Museum of San Francisco, Octo... more Jainism: Religion of the Spiritual Victors
guest curator, Asian Art Museum of San Francisco, October 1994-
January 1995.
"Jainism: Religion of the Spiritual Victors," The Society for Asian Art Newsletter,
San Francisco, Vol. 34, No. 1, Fall 1994.
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catalogues by Robert J Del Bonta
Old exhibitions with no catalogues by Robert J Del Bonta
guest curator, Asian Art Museum of San Francisco, October 1994-
January 1995.
"Jainism: Religion of the Spiritual Victors," The Society for Asian Art Newsletter,
San Francisco, Vol. 34, No. 1, Fall 1994.
guest curator, Asian Art Museum of San Francisco, October 1994-
January 1995.
"Jainism: Religion of the Spiritual Victors," The Society for Asian Art Newsletter,
San Francisco, Vol. 34, No. 1, Fall 1994.
guest curator, Asian Art Museum of San Francisco, May-November 1998.
“Looking at India, up close and from afar,” Treasures, the Members magazine of the Asian Art Museum of San Francisco, Vol. II, No. 2, Fall 1998, pp. 6-8.
guest curator, Asian Art Museum of San Francisco, January-May 1996.
"Picturing Music: Indian Ragamalas through January 14, Rajasthani Ragamalas January 17 through May 13," The Society for Asian Art Newsletter, San Francisco, Vol. 35, No. 2, Winter 1995/1996, pp. 3 and 7.
guest curator, Asian Art Museum of San Francisco, September 1995-January 1996.
"Picturing Music: Indian Ragamalas through January 14, Rajasthani Ragamalas January 17 through May 13," The Society for Asian Art Newsletter, San Francisco, Vol. 35, No. 2, Winter 1995/1996, pp. 3 and 7.
sponsored by the Sikh Foundation, guest curator, Asian Art Museum of
San Francisco, November-December 1992.
Gallery guide and "Splendors of the Punjab: Art of the Sikhs," The Society for Asian Art Newsletter, San Francisco, Vol. 32, No. 2, Winter 1992-93.
guest curator, Asian Art Museum of San Francisco, July-October 1993.
"Indian Paintings and Drawings from the Marshall Collection,” The Society for Asian Art Newsletter, San Francisco, Vol. 33, No.2, Winter 1993.
guest curator, Asian Art Museum of San Francisco, March-June 1994.
"Indian Paintings and Drawings from the Marshall Collection”, The Society for Asian Art Newsletter, San Francisco, Vol. 33, No.2, Winter 1993.
guest curator, Asian Art Museum of San Francisco, June-December 1992.
For a discussion of these works see:
https://www.academia.edu/44712263/Indian_Composite_painting_two_articles