National Gallery of Modern Art, New Delhi
Museum Collection
“The problem concerning the sculptor is cheifly to construct in material the form that conveys a mood, a feeling and an attitude. But when the feelings are not clear and well defined, it is through hard and concentrated effort that they are diagnosed and their meaning properly understood.”
– Amar Nath Sehgal, Sculpture Becoming, Indian Sculptor, 1961.
Newspaper Article
Indian artist in Lutzowplatz, Der Ausschnitt, Berlin, 1965
Cries Unheard, Bronze, 1958
Cries Unheard,Bronze, 1958 “The powerful sculpture Tyranny was to be a phase in the next significant piece Cries Unheard (1958). The abstraction here is in flat rhythmical planes. The previous elongated forms are retained. The spatial relations of the three forms are intimate and give the feeling of a chorus against the empty background.Monumental in its structure, the building up of the forms is almost architectonic. The clarity of the whole is enhanced by the economy of materials, by the near complete disintegration of mass, the spiritual distortion and the brilliant use of the hollows to bring out the force of the upraised arms” – Mulk Raj Anand, Amar Nath Sehgal, Marg Publications, 1964
Hamara Akash
Hamara Akash, Bronze, 1980
“The sky is ours —(…) It shows a bird like form carrying the space-the moon and stars, akin to the post of Shiva in cosmic dance. Entitled ‘Hamara Akash’, it is inspired by India’s flights in pursuit of the conquest of space.”
– Amar Nath Sehgal
Flute Player , Bronze 1960
“The struggle to achieve abstraction and yet to remain near the suggestion of figure, has obviously come after Fragrance (1958). The hollows were used here to create the feeling of echo, while the agitated hands on the curved flute supply a dramatic concept woven into the eager head.”
– Mulk Raj Anand, Amar Nath Sehgal, Marg Publications, 1964
The Crushing Burden
‘Crushing Burden’ was unveiled at the IInd World Conference on Population in Mexico City, 1985. Press clipping from Die Warte, 1997
The Tortured
Bronze, 1960
Head with Horns
Artwork: Head with Horns, Bronze, 1960s
Head with Horns conceptualizes those who endanger peace and commit aggression. As all hostilities are born out of animal instinct, the display of this banality by human beings depicts their inner urge for hostility and destruction. “We must identify and segregate them and curb this aggressive instinct to ensure peace”, says Sehgal. This work was dedicated to the International Year of Peace – 1996.
Tyranny of Colonization, Bronze, 1958
Tyranny of Colonization, Bronze, 1958“Tyranny reverts back to the surrealist world which Amar Nath Sehgal shares with Giacometti, except that realism mars the unity of the dispersed forms in space, by a kind of visible binding line of the chain.
– Mulk Raj Anand, Amar Nath Sehgal, Marg Publications, 1964
The Crushing Burden
The Crushing Burden, Bronze, 1962
“It portrays the sculptor, Amar Nath Sehgal’s agony over the still unsolved problem of population explosion, especially in this country. (…) His composition shows mother earth being crushed under the burden of burgeoning humanity.”
Anguished Cries
“Anguished Cries is a multiform group, put together in a remarkable expressionist technique, which gives organic relationships to the hollows as against the well-lit surface masses. The linking of one form with the other, create a superb interplay of tragic shrillness, a drama of pain without hysteria.”
– Mulk Raj Anand, Amar Nath Sehgal, Marg Publications, 1964
Newspaper Article
sculpture of Amar N Sehgal dedicated to the International Year of Peace. Press clipping from Luxembourg Wort, 1986
