GLOBAL PRESS
Snippets of articles
“He paints large canvasses full of colour. Like Vincent van Gogh, Sen Gupta discovered colour in France. They are all hymns of life.”
ELLE Magazine, Annick Le Floc’hmoan, Paris. 10 May 1993
“…Sen Gupta was born in India just after its independence. He arrived at Orly one fine morning in November 1973 with 8 dollars in his pocket and an immoderate love of France. He owes this passion not only to his father, a fierce militant for Human Rights inspired by Hugo and Zola but also to the influence of the great painters, Monet and above all, Van Gogh.”
LIBERATION, Daily Newspaper, David Aussel, Paris. 16 June 1993
“The magic recipes of the Indian Sen Gupta… colour, a synonym of gaiety. And gaiety should belong to everybody in the same way as the sky, the sea… when we have them we have everything.”
LE FIGARO, Daily Newspaper, Anie Carlo, Paris. 9 May 1993
“He paints the sun to chase away the night, and budding vegetation to remind those who may have forgotten, that it is always indispensable to hope and to innovate incessantly.”
GRAPHIC STUDIO, Magazine, Paris. June 1993
“Sen Gupta acknowledges the fact that it is from this Indian philosophy and his family’s education that he has drawn his richness, his strength and his capacity to adapt. Everywhere, he says, take on difficulties with serenity. Try. Luck does not exist. You create your own luck.”
LA VIE, Magazine, Agnes Cazenave, Paris. 7 July 1993
“Sen Gupta’s art is situated between the fantastic elements of imagination and his luxuriant memories of India. His hypnotic palette reminds us of the important artistic heritage from his country all too little known in the West.”
PROFILS, Magazine, Paris. 22 May 1993
“Sen Gupta at the Carlton, a passion for painting to be quickly discovered. His watercolours, which do more than flirt with the abstract are remarkable for the warmth of their colours, their contrasts and certain very seductive ‘flashes,’ like this ‘Heart of a Volcano,’ ‘Bercalmed’ and ‘Renaissance,’ his self-portrait, painted a few years ago, is gripping and harrowing at the same time and could be used as a frontispiece to Celine’s ‘Voyage au bout de la nuit.’ In total opposition to his brutal truth we find galloping foals, a truly elegant woman and surrealist flowers in soaring whirlwind.”
NICE-MATIN, Daily Newspaper, Paris. May 1989
“…he is an Indian artist who came to France in 1973… his universe is mid-way between Indian and Western culture. He creates vegetal forms, luxuriant landscapes.”
PARIS PREMIERE, TV, Paris. 18 May 1993
“Sen Gupta, between the Ganges and the Seine.”
MAX, Magazine, Paris. June 1993
“If one can draw a musical parallel, the water colours suggest the economic of Erik Satie, the oils bring to mind the gargantuan moods of a Giacomo Meyer beer.”
THE STATESMAN, Daily Newspaper, India. January 1991
“Sen Gupta: Thongawala from Paris, offering spirituality to the West.”
THE SUNDAY STATESMAN, Daily Newspaper, India. January 1991
“.. his water-colours are effervescent and emotive, replete with an innocent wonder. Representational pieces like vases with flowers are often reduced to impetuous strokes of radiant colours. There are two elegant horses – one suggesting earthy, muscular power, the other, an airy, weightless speed.”
THE ECONOMIC TIMES, Daily Newspaper, India. January 1991
“Sparkling spontaneity. The paintings recall, though very remotely, Kandinsky and other expressionists who exploited the expressive function of colours and used a sensitive palette with a feeling for the pure notes of music.”
THE TELEGRAPH, Daily Newspaper, India. January 1999
“Done in bold calligraphic strokes and soft washes of colours, Sen Gupta shows his involvement with nature even in these works.”
BUSINESS STANDARD, Daily Newspaper, India. January 1999
“Sen Gupta happily combines Western and Oriental sensibilities. His painting is a living testimony to this mixture. The sophistication of form is in perfect harmony with the vibrations of the colours and textures.”
BUSINESS STANDARD, Daily Newspaper, India. January 1991
“When Sen paints, his relationship with the blank sheet is clearly quite different. One is immediately struck by the speed of the stroke, the purity of a curve, the sparkle of colours. He has a completely controlled sense of calligraphy, both in his movement and in his thought, moving from the extreme simplicity of the female form to the exuberance of nature.”
THE ART INDIA Magazine, written by Nicole Zanda senior French journalist from Le Monde, India. December 1998