Artist V.S.Gaitonde, R H 8, Puranik Villa, Opp. Kasheli Metro Stn. , Kasheli Village, Village (2026)

11/08/2026

LUMINOUS TRIBUTE TO ARTIST GAITONDE...

“𝐖𝐡𝐞𝐧 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞 𝐝𝐢𝐞𝐝, 𝐭𝐡𝐞𝐫𝐞 𝐰𝐞𝐫𝐞 𝐨𝐧𝐥𝐲 𝐟𝐢𝐯𝐞 𝐨𝐫 𝐬𝐢𝐱 𝐩𝐞𝐨𝐩𝐥𝐞 𝐚𝐭 𝐡𝐢𝐬 𝐟𝐮𝐧𝐞𝐫𝐚𝐥. 𝐋𝐚𝐭𝐞𝐫, 𝐦𝐚𝐧𝐲 𝐩𝐞𝐨𝐩𝐥𝐞 𝐬𝐚𝐲 𝐭𝐡𝐚𝐭 𝐧𝐨 𝐨𝐧𝐞 𝐰𝐞𝐧𝐭 𝐭𝐨 𝐬𝐞𝐞 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞 𝐰𝐡𝐞𝐧 𝐡𝐞 𝐩𝐚𝐬𝐬𝐞𝐝 𝐚𝐰𝐚𝐲, 𝐝𝐞𝐬𝐩𝐢𝐭𝐞 𝐭𝐡𝐞 𝐟𝐚𝐜𝐭 𝐭𝐡𝐚𝐭 𝐡𝐞 𝐡𝐞𝐥𝐝 𝐬𝐮𝐜𝐡 𝐚𝐧 𝐢𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭 𝐩𝐥𝐚𝐜𝐞 𝐢𝐧 𝐭𝐡𝐞 𝐚𝐫𝐭 𝐰𝐨𝐫𝐥𝐝, 𝐚𝐧𝐝 𝐬𝐨 𝐨𝐧. 𝐁𝐮𝐭 𝐈 𝐰𝐨𝐧𝐝𝐞𝐫, 𝐝𝐨𝐞𝐬 𝐢𝐭 𝐫𝐞𝐚𝐥𝐥𝐲 𝐦𝐚𝐤𝐞 𝐚 𝐝𝐢𝐟𝐟𝐞𝐫𝐞𝐧𝐜𝐞? 𝐑𝐞𝐦𝐞𝐦𝐛𝐞𝐫, 𝐭𝐡𝐞 𝐟𝐢𝐯𝐞 𝐨𝐫 𝐬𝐢𝐱 𝐩𝐞𝐨𝐩𝐥𝐞 𝐰𝐡𝐨 𝐰𝐞𝐫𝐞 𝐭𝐡𝐞𝐫𝐞 𝐚𝐭 𝐭𝐡𝐚𝐭 𝐭𝐢𝐦𝐞 𝐰𝐞𝐫𝐞 𝐞𝐱𝐚𝐜𝐭𝐥𝐲 𝐭𝐡𝐞 𝐩𝐞𝐨𝐩𝐥𝐞 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞 𝐰𝐨𝐮𝐥𝐝 𝐡𝐚𝐯𝐞 𝐰𝐚𝐧𝐭𝐞𝐝 𝐚𝐫𝐨𝐮𝐧𝐝 𝐡𝐢𝐦 𝐭𝐡𝐞 𝐩𝐞𝐨𝐩𝐥𝐞 𝐰𝐡𝐨 𝐡𝐚𝐝 𝐛𝐞𝐞𝐧 𝐰𝐢𝐭𝐡 𝐡𝐢𝐦 𝐞𝐯𝐞𝐧 𝐰𝐡𝐞𝐧 𝐡𝐞 𝐰𝐚𝐬 𝐚𝐥𝐢𝐯𝐞. 𝐖𝐨𝐮𝐥𝐝 𝐢𝐭 𝐡𝐚𝐯𝐞 𝐦𝐚𝐭𝐭𝐞𝐫𝐞𝐝 𝐭𝐨 𝐡𝐢𝐦 𝐡𝐨𝐰 𝐦𝐚𝐧𝐲 𝐩𝐞𝐨𝐩𝐥𝐞 𝐜𝐚𝐦𝐞 𝐨𝐫 𝐰𝐡𝐨 𝐝𝐢𝐝 𝐧𝐨𝐭? 𝐀𝐦𝐨𝐧𝐠 𝐭𝐡𝐞 𝐭𝐡𝐨𝐮𝐬𝐚𝐧𝐝𝐬 𝐰𝐡𝐨 𝐠𝐚𝐭𝐡𝐞𝐫 𝐚𝐭 𝐬𝐨𝐦𝐞𝐨𝐧𝐞’𝐬 𝐟𝐮𝐧𝐞𝐫𝐚𝐥, 𝐡𝐨𝐰 𝐦𝐚𝐧𝐲 𝐠𝐞𝐧𝐮𝐢𝐧𝐞𝐥𝐲 𝐜𝐨𝐦𝐞 𝐨𝐮𝐭 𝐨𝐟 𝐚𝐟𝐟𝐞𝐜𝐭𝐢𝐨𝐧, 𝐚𝐧𝐝 𝐡𝐨𝐰 𝐦𝐚𝐧𝐲 𝐜𝐨𝐦𝐞 𝐬𝐢𝐦𝐩𝐥𝐲 𝐭𝐨 𝐬𝐡𝐨𝐰 𝐨𝐭𝐡𝐞𝐫𝐬 𝐭𝐡𝐚𝐭 𝐭𝐡𝐞𝐲 𝐰𝐞𝐫𝐞 𝐭𝐡𝐞𝐫𝐞? 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞 𝐰𝐨𝐮𝐥𝐝 𝐧𝐞𝐯𝐞𝐫 𝐡𝐚𝐯𝐞 𝐥𝐢𝐤𝐞𝐝 𝐬𝐮𝐜𝐡 𝐚 𝐜𝐫𝐨𝐰𝐝 𝐚𝐫𝐨𝐮𝐧𝐝 𝐡𝐢𝐦, 𝐞𝐯𝐞𝐧 𝐚𝐟𝐭𝐞𝐫 𝐡𝐢𝐬 𝐝𝐞𝐚𝐭𝐡. 𝐇𝐨𝐰 𝐜𝐨𝐮𝐥𝐝 𝐚 𝐦𝐚𝐧 𝐰𝐡𝐨 𝐥𝐢𝐯𝐞𝐝 𝐬𝐮𝐜𝐡 𝐚 𝐪𝐮𝐢𝐞𝐭, 𝐬𝐨𝐥𝐢𝐭𝐚𝐫𝐲 𝐥𝐢𝐟𝐞 𝐡𝐚𝐯𝐞 𝐞𝐧𝐝𝐮𝐫𝐞𝐝 𝐭𝐡𝐞 𝐧𝐨𝐢𝐬𝐞 𝐚𝐧𝐝 𝐜𝐨𝐦𝐦𝐨𝐭𝐢𝐨𝐧 𝐚𝐟𝐭𝐞𝐫 𝐡𝐢𝐬 𝐝𝐞𝐚𝐭𝐡? 𝐇𝐞 𝐰𝐨𝐮𝐥𝐝 𝐡𝐚𝐯𝐞 𝐡𝐚𝐭𝐞𝐝 𝐢𝐭. 𝐇𝐞 𝐥𝐢𝐯𝐞𝐝 𝐪𝐮𝐢𝐞𝐭𝐥𝐲 𝐚𝐧𝐝 𝐚𝐥𝐨𝐧𝐞, 𝐚𝐧𝐝 𝐡𝐞 𝐥𝐞𝐟𝐭 𝐭𝐡𝐢𝐬 𝐰𝐨𝐫𝐥𝐝 𝐢𝐧 𝐭𝐡𝐞 𝐬𝐚𝐦𝐞 𝐰𝐚𝐲.”

𝐓𝐡𝐢𝐬 𝐢𝐬 𝐚 𝐩𝐚𝐬𝐬𝐚𝐠𝐞 𝐟𝐫𝐨𝐦 ‘𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞: 𝐁𝐞𝐭𝐰𝐞𝐞𝐧 𝐓𝐰𝐨 𝐌𝐢𝐫𝐫𝐨𝐫𝐬’, 𝐭𝐡𝐞 𝐛𝐨𝐨𝐤 𝐨𝐧 𝐭𝐡𝐞 𝐩𝐚𝐢𝐧𝐭𝐞𝐫 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞 𝐩𝐮𝐛𝐥𝐢𝐬𝐡𝐞𝐝 𝐛𝐲 ‘𝐂𝐡𝐢𝐧𝐡𝐚’, 𝐚𝐧𝐝 𝐢𝐬 𝐟𝐫𝐨𝐦 𝐚𝐧 𝐚𝐫𝐭𝐢𝐜𝐥𝐞 𝐛𝐲 𝐡𝐢𝐬 𝐯𝐞𝐫𝐲 𝐜𝐥𝐨𝐬𝐞 𝐟𝐫𝐢𝐞𝐧𝐝, 𝐩𝐚𝐢𝐧𝐭𝐞𝐫 𝐋𝐚𝐱𝐦𝐚𝐧 𝐒𝐡𝐫𝐞𝐬𝐭𝐡𝐚. 𝐓𝐡𝐢𝐬 𝐝𝐞𝐞𝐩𝐥𝐲 𝐦𝐨𝐯𝐢𝐧𝐠 𝐩𝐚𝐬𝐬𝐚𝐠𝐞 𝐛𝐫𝐢𝐧𝐠𝐬 𝐭𝐡𝐞 𝐥𝐨𝐧𝐠 𝐚𝐫𝐭𝐢𝐜𝐥𝐞 𝐨𝐧 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞 𝐭𝐨 𝐚 𝐜𝐥𝐨𝐬𝐞. 𝐋𝐚𝐱𝐦𝐚𝐧 𝐒𝐡𝐫𝐞𝐬𝐭𝐡𝐚 𝐡𝐚𝐝 𝐭𝐡𝐞 𝐩𝐫𝐢𝐯𝐢𝐥𝐞𝐠𝐞 𝐨𝐟 𝐬𝐩𝐞𝐧𝐝𝐢𝐧𝐠 𝐦𝐚𝐧𝐲 𝐲𝐞𝐚𝐫𝐬 𝐢𝐧 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞’𝐬 𝐜𝐥𝐨𝐬𝐞 𝐜𝐨𝐦𝐩𝐚𝐧𝐲. 𝐓𝐡𝐚𝐭 𝐢𝐬 𝐰𝐡𝐲, 𝐞𝐯𝐞𝐧 𝐚𝐟𝐭𝐞𝐫 𝐰𝐞 𝐡𝐚𝐯𝐞 𝐜𝐥𝐨𝐬𝐞𝐝 𝐭𝐡𝐞 𝐛𝐨𝐨𝐤, 𝐡𝐢𝐬 𝐚𝐫𝐭𝐢𝐜𝐥𝐞 𝐚𝐧𝐝 𝐞𝐬𝐩𝐞𝐜𝐢𝐚𝐥𝐥𝐲 𝐭𝐡𝐞𝐬𝐞 𝐟𝐢𝐧𝐚𝐥 𝐰𝐨𝐫𝐝𝐬 𝐜𝐨𝐧𝐭𝐢𝐧𝐮𝐞𝐬 𝐭𝐨 𝐬𝐭𝐚𝐲 𝐰𝐢𝐭𝐡 𝐮𝐬 𝐟𝐨𝐫 𝐚 𝐥𝐨𝐧𝐠 𝐭𝐢𝐦𝐞.

𝐈 𝐰𝐚𝐬 𝐫𝐞𝐦𝐢𝐧𝐝𝐞𝐝 𝐨𝐟 𝐚𝐥𝐥 𝐭𝐡𝐢𝐬 𝐭𝐨𝐝𝐚𝐲 𝐛𝐞𝐜𝐚𝐮𝐬𝐞, 𝐨𝐧 𝐭𝐡𝐞 𝐨𝐜𝐜𝐚𝐬𝐢𝐨𝐧 𝐨𝐟 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞’𝐬 𝟐𝟓𝐭𝐡 𝐝𝐞𝐚𝐭𝐡 𝐚𝐧𝐧𝐢𝐯𝐞𝐫𝐬𝐚𝐫𝐲, 𝐬𝐞𝐧𝐢𝐨𝐫 𝐟𝐨𝐫𝐦𝐞𝐫 𝐣𝐨𝐮𝐫𝐧𝐚𝐥𝐢𝐬𝐭 𝐚𝐧𝐝 𝐧𝐨𝐰 𝐚𝐫𝐭𝐢𝐬𝐭 𝐤𝐧𝐨𝐰𝐧 𝐢𝐧 𝐭𝐡𝐞 𝐚𝐫𝐭 𝐰𝐨𝐫𝐥𝐝, 𝐏𝐫𝐚𝐤𝐚𝐬𝐡 𝐁𝐚𝐥 𝐉𝐨𝐬𝐡𝐢, 𝐡𝐚𝐬 𝐰𝐫𝐢𝐭𝐭𝐞𝐧 𝐚 𝐬𝐩𝐞𝐜𝐢𝐚𝐥 𝐚𝐫𝐭𝐢𝐜𝐥𝐞 𝐨𝐧 ‘𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞: 𝐁𝐞𝐭𝐰𝐞𝐞𝐧 𝐓𝐰𝐨 𝐌𝐢𝐫𝐫𝐨𝐫𝐬’, 𝐰𝐡𝐢𝐜𝐡 𝐰𝐞 𝐚𝐫𝐞 𝐬𝐡𝐚𝐫𝐢𝐧𝐠 𝐡𝐞𝐫𝐞. 𝐃𝐨 𝐫𝐞𝐚𝐝 𝐢𝐭 𝐚𝐧𝐝, 𝐚𝐬 𝐚𝐥𝐰𝐚𝐲𝐬, 𝐰𝐞 𝐰𝐨𝐮𝐥𝐝 𝐥𝐨𝐯𝐞 𝐭𝐨 𝐡𝐞𝐚𝐫 𝐲𝐨𝐮𝐫 𝐭𝐡𝐨𝐮𝐠𝐡𝐭𝐬 𝐚𝐧𝐝 𝐫𝐞𝐚𝐜𝐭𝐢𝐨𝐧𝐬.

: Satish Naik
'Editor' G*itonde: Between Two Mirrors

'G*itonde: Between Two Mirrors’ is a luminous tribute to Vasudeo S. G*itonde, one of India’s most enigmatic and revered abstract masters. Edited by Satish Naik, with a foreword by Dr. Pheroza Godrej and a preface by Prabhakar Kolte, this recently published volume is a multifaceted exploration of G*itonde’s life, philosophy, and artistic legacy. Through personal anecdotes from twelve of G*itonde’s friends, four analytical essays on his work, archival interviews with the artist himself, and a selection of vibrant art plates, the book offers an intimate and comprehensive portrait of a man whose quiet genius reshaped Indian modernism.

The book’s structure is one of its greatest strengths, weaving together diverse perspectives to create a rich tapestry of G*itonde’s life and work. The foreword by Dr. Pheroza Godrej, a luminary in Mumbai’s art scene and founder of the Cymroza Art Gallery, sets a reverent tone, situating G*itonde within the broader context of Indian modernism. Godrej’s reflections, informed by her decades-long engagement with the art world, underscore G*itonde’s role as a pioneer who transcended conventional boundaries. Her foreword is both a personal homage and a scholarly anchor, grounding the book in the historical milieu of the Progressive Artists’ Group, with which G*itonde was loosely associated.

Prabhakar Kolte’s preface adds a deeply personal layer, offering insights from a fellow artist and friend. Kolte, himself a significant figure in Indian abstract art, reflects on G*itonde’s disciplined approach and his almost spiritual commitment to abstraction. His preface is not merely an introduction but a meditation on G*itonde’s philosophy of silence and space, themes that recur throughout the book. Kolte’s writing is evocative, capturing the essence of G*itonde’s introspective nature and his belief that art was a journey toward the ineffable.

The heart of the book lies in the personal stories contributed by twelve of G*itonde’s friends. These narratives paint a vivid picture of a man who was both intensely private and profoundly influential. From anecdotes about his meticulous studio practices to moments of quiet camaraderie, these accounts humanize the mythic figure of G*itonde. One friend recalls his fascination with music particularly Indian classical and jazz and how it informed the rhythmic flow of his canvases. Another shares memories of G*itonde’s time in New York, where he engaged with Abstract Expressionism, drawing parallels with artists like Mark Rothko. These stories are not hagiographic; they reveal G*itonde’s complexities, including his reclusive tendencies and uncompromising standards. For readers unfamiliar with G*itonde’s life, these accounts offer an accessible entry point, while for art historians, they provide fresh primary material.

The four analytical essays form the intellectual backbone of the book, offering rigorous examinations of G*itonde’s oeuvre. Each essay tackles a different facet of his work: his use of color and texture, his engagement with Zen philosophy, his evolution from figurative to abstract forms, and his influence on subsequent generations of Indian artists. The essay on color and texture is particularly illuminating, detailing how G*itonde layered oil paints to create luminous, almost translucent surfaces that seem to vibrate with inner life. The discussion of Zen philosophy connects G*itonde’s minimalist aesthetic to his spiritual inclinations, drawing parallels with his interest in calligraphy and Eastern mysticism.

While the essays are scholarly, they remain accessible, avoiding jargon and inviting readers into the subtleties of G*itonde’s art. However, one essay, focusing on his influence, feels slightly underdeveloped, offering broad strokes rather than specific examples of artists directly inspired by G*itonde.

The inclusion of archival interviews with G*itonde, sourced from earlier magazines, is a highlight. These conversations reveal the artist’s voice reticent yet profound as he discusses his creative process, his disdain for commercialism, and his belief in art as a meditative act. One poignant moment comes when G*itonde describes his paintings as “not pictures, but experiences,” urging viewers to engage with them slowly. These interviews, though brief, are invaluable for their authenticity, offering a rare glimpse into the mind of an artist who shunned the spotlight.

The art plates, reproducing some of G*itonde’s iconic works, are a visual feast. From his early abstractions of the 1950s to his later, more austere compositions, the plates capture the evolution of his style. The high-quality reproductions highlight the subtlety of his palette muted ochres, deep blues, and fiery reds and the tactile quality of his surfaces. However, the selection could have been more expansive; while the chosen works are representative, additional plates might have better showcased the breadth of G*itonde’s experimentation.

The book’s greatest achievement is its ability to balance reverence with critical inquiry. It avoids the trap of mythologizing G*itonde, instead presenting him as a complex figure whose work demands active engagement. The interplay between personal stories, scholarly essays, and G*itonde’s own words creates a dynamic portrait that appeals to both casual readers and art aficionados. Its exploration of G*itonde’s connection to “memory” both personal and cultural resonates deeply, framing his abstractions as meditations on time, space, and existence.

However, the book is not without flaws. The editing, while generally meticulous, occasionally allows repetition across the personal accounts, which can feel redundant. Additionally, the absence of a detailed chronology of G*itonde’s life and exhibitions is a missed opportunity, particularly for readers seeking a linear understanding of his career. A more robust index or bibliography would also enhance its utility as a research tool.

In the context of Indian art literature, ‘G*itonde: Between Two Mirrors’ stands out for its intimacy and depth. It complements earlier works on Indian modernism, such as those chronicling the Progressive Artists’ Group, while offering a focused lens on one of its most elusive figures. The book also arrives at a time when Indian abstract art is gaining global recognition, making it a timely contribution to the discourse. Its emphasis on personal connections, as seen in the contributions from Godrej and Kolte, underscores the collaborative spirit of India’s art community, a theme echoed in discussions of gallerists like Pheroza Godrej who championed artists like G*itonde.

In conclusion, ‘G*itonde: Between Two Mirrors’ is a masterful tribute to an artist whose work continues to captivate and challenge. It is a book that invites readers to linger, much like G*itonde’s paintings themselves, offering layers of meaning that unfold with each encounter. For anyone interested in Indian abstract art, this volume is an essential addition, blending storytelling, scholarship, and visual splendor to celebrate a true visionary.

: 𝐏𝐫𝐚𝐤𝐚𝐬𝐡 𝐁𝐚𝐥 𝐉𝐨𝐬𝐡𝐢
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𝕊𝕡𝕖𝕔𝕚𝕒𝕝 𝔻𝕚𝕤𝕔𝕠𝕦𝕟𝕥 𝕆𝕗𝕗𝕖𝕣 🎉🎉

𝐀𝐫𝐭𝐢𝐬𝐭𝐬 𝐥𝐢𝐤𝐞 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞 𝐚𝐫𝐞 𝐛𝐨𝐫𝐧 𝐨𝐧𝐥𝐲 𝐨𝐧𝐜𝐞 𝐢𝐧 𝐚 𝐜𝐞𝐧𝐭𝐮𝐫𝐲. 𝐓𝐡𝐞 𝐨𝐧𝐥𝐲 𝐛𝐨𝐨𝐤 𝐞𝐯𝐞𝐫 𝐩𝐮𝐛𝐥𝐢𝐬𝐡𝐞𝐝 𝐨𝐧 𝐭𝐡𝐢𝐬 𝐥𝐞𝐠𝐞𝐧𝐝𝐚𝐫𝐲 𝐚𝐫𝐭𝐢𝐬𝐭 𝐢𝐬 𝐚 𝐦𝐮𝐬𝐭-𝐫𝐞𝐚𝐝 𝐟𝐨𝐫 𝐞𝐯𝐞𝐫𝐲 𝐈𝐧𝐝𝐢𝐚𝐧 𝐚𝐫𝐭 𝐥𝐨𝐯𝐞𝐫. 𝐂𝐨𝐦𝐩𝐥𝐞𝐭𝐞 𝐢𝐧𝐟𝐨𝐫𝐦𝐚𝐭𝐢𝐨𝐧 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐛𝐨𝐨𝐤 𝐢𝐬 𝐠𝐢𝐯𝐞𝐧 𝐚𝐛𝐨𝐯𝐞. 𝐓𝐡𝐞 𝐩𝐫𝐢𝐜𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐛𝐨𝐨𝐤 𝐢𝐬 ₹12,600. 𝐏𝐥𝐞𝐚𝐬𝐞 𝐝𝐨𝐧’𝐭 𝐛𝐞 𝐝𝐢𝐬𝐜𝐨𝐮𝐫𝐚𝐠𝐞𝐝 𝐛𝐲 𝐭𝐡𝐢𝐬 𝐩𝐫𝐢𝐜𝐞 𝐢𝐭 𝐢𝐬 𝐭𝐡𝐞 𝐩𝐫𝐢𝐜𝐞 𝐟𝐨𝐫 𝐫𝐞𝐚𝐝𝐞𝐫𝐬 𝐨𝐮𝐭𝐬𝐢𝐝𝐞 𝐈𝐧𝐝𝐢𝐚, 𝐚𝐬 𝐬𝐞𝐧𝐝𝐢𝐧𝐠 𝐬𝐮𝐜𝐡 𝐚 𝐥𝐚𝐫𝐠𝐞 𝐛𝐨𝐨𝐤 𝐛𝐲 𝐩𝐨𝐬𝐭 𝐨𝐫 𝐜𝐨𝐮𝐫𝐢𝐞𝐫 𝐨𝐯𝐞𝐫𝐬𝐞𝐚𝐬 𝐢𝐬 𝐯𝐞𝐫𝐲 𝐞𝐱𝐩𝐞𝐧𝐬𝐢𝐯𝐞. 𝐖𝐢𝐭𝐡𝐢𝐧 𝐈𝐧𝐝𝐢𝐚, 𝐭𝐡𝐞 𝐬𝐚𝐦𝐞 𝐛𝐨𝐨𝐤 𝐢𝐬 𝐚𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 𝐚𝐭 𝐚 𝐬𝐩𝐞𝐜𝐢𝐚𝐥 𝐩𝐫𝐢𝐜𝐞 𝐨𝐟 𝐣𝐮𝐬𝐭 ₹3,330/-, 𝐢𝐧𝐜𝐥𝐮𝐝𝐢𝐧𝐠 𝐝𝐞𝐥𝐢𝐯𝐞𝐫𝐲 𝐛𝐲 𝐩𝐨𝐬𝐭 𝐨𝐫 𝐜𝐨𝐮𝐫𝐢𝐞𝐫. 𝐖𝐞 𝐝𝐨 𝐧𝐨𝐭 𝐜𝐡𝐚𝐫𝐠𝐞 𝐚𝐧𝐲𝐭𝐡𝐢𝐧𝐠 𝐞𝐱𝐭𝐫𝐚 𝐟𝐨𝐫 𝐝𝐞𝐥𝐢𝐯𝐞𝐫𝐲. 𝐈𝐟 𝐲𝐨𝐮 𝐰𝐨𝐮𝐥𝐝 𝐥𝐢𝐤𝐞 𝐭𝐨 𝐡𝐚𝐯𝐞 𝐭𝐡𝐢𝐬 𝐫𝐞𝐦𝐚𝐫𝐤𝐚𝐛𝐥𝐞 𝐛𝐨𝐨𝐤 𝐢𝐧 𝐲𝐨𝐮𝐫 𝐜𝐨𝐥𝐥𝐞𝐜𝐭𝐢𝐨𝐧, 𝐬𝐢𝐦𝐩𝐥𝐲 𝐬𝐞𝐧𝐝 𝐭𝐡𝐞 𝐦𝐞𝐬𝐬𝐚𝐠𝐞 “GAI” 𝐚𝐥𝐨𝐧𝐠 𝐰𝐢𝐭𝐡 𝐲𝐨𝐮𝐫 𝐧𝐚𝐦𝐞 𝐚𝐧𝐝 𝐚𝐝𝐝𝐫𝐞𝐬𝐬 𝐭𝐨 𝐨𝐮𝐫 𝐖𝐡𝐚𝐭𝐬𝐀𝐩𝐩 𝐧𝐮𝐦𝐛𝐞𝐫 90040 34903. 𝐓𝐡𝐞 𝐛𝐨𝐨𝐤 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐝𝐢𝐬𝐩𝐚𝐭𝐜𝐡𝐞𝐝 𝐰𝐢𝐭𝐡𝐢𝐧 𝟐𝟒 𝐡𝐨𝐮𝐫𝐬.

𝐓𝐢𝐭𝐥𝐞: ‘GAITONDE: BETWEEN TWO MIRRORS’
𝐄𝐝𝐢𝐭𝐨𝐫: Satish Naik
𝐏𝐮𝐛𝐥𝐢𝐜𝐚𝐭𝐢𝐨𝐧 𝐃𝐚𝐭𝐞‏: ‎ 27 February 2025
𝐄𝐝𝐢𝐭𝐢𝐨𝐧: ‎First Edition
𝐏𝐚𝐠𝐞𝐬: 360 pages
𝐖𝐨𝐫𝐝‏: ‎1 Lakh
𝐖𝐞𝐢𝐠𝐡𝐭: 2.5 kg
𝐀𝐛𝐨𝐮𝐭: 120 Paintings, Drawings and Sketches by G*itonde, 74 Exclusive photographs, 20+ Exclusive Portraits of G*itonde by Anil Naik and Satish Naik, 12 Personal stories of people close to G*itonde, 4 Articles uncovering lesser known facets of
G*itonde, 6 Exclusive interviews of G*itonde etc.
𝐂𝐨𝐧𝐭𝐚𝐜𝐭: 90040 34903 / 99677 95054
𝐏𝐮𝐛𝐥𝐢𝐬𝐡𝐞𝐫: ‘Chinha Publications’
𝐏𝐫𝐢𝐧𝐭𝐞𝐝 𝐀𝐭: Pragati Offset Pvt. Ltd.

*itonde

10/08/2026

𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞: 𝐎𝐧 𝐭𝐡𝐞 𝐎𝐜𝐜𝐚𝐬𝐢𝐨𝐧 𝐨𝐟 𝐇𝐢𝐬 𝐓𝐰𝐞𝐧𝐭𝐲-𝐅𝐢𝐟𝐭𝐡 𝐃𝐞𝐚𝐭𝐡 𝐀𝐧𝐧𝐢𝐯𝐞𝐫𝐬𝐚𝐫𝐲

I entered the J. J. School of Art in the 1970s. On the very first day, I saw a painting by the artist G*itonde on one of the walls of J. J. School of Art, and I became his fan. Later, I began to follow him. Even though 25 years have now passed since his death, that journey has still not come to an end. I published three issues of Chinha, the Marathi art magazine, dedicated to him. In India, not a single publisher or art gallery came forward to publish a book on the artist who laid the foundation of abstract painting in the country. So, finally, in 2016, I myself published the book G*itonde. Its Hindi translation was published in 2019. Then, in 2025, Chinha published the English volume on him, G*itonde: Between Two Mirrors.

Seeing this obsession of mine with G*itonde, many people ask me, “Who is G*itonde to you? Is he your uncle or your maternal uncle?” The answer to this question is: neither. In fact, I never even saw him from a distance. Because in the very year I entered J. J. School of Art, he left Mumbai and moved to Delhi.

I did not have the smartness or courage to go to Delhi and meet him. The reason for this was the many fascinating legends about G*itonde that circulated in art circles. That’s why I could never dare to do so. Later, at some point, he even sent me an invitation to meet him. But even then, because of my many commitments, I could not go to Delhi. And thus, my meeting with G*itonde remained unfulfilled.

But despite this, the issues and the book on him published by Chinha received an excellent response. “Even in the face of complete adversity, this book conveys, through every one of its pages, how one can achieve 100 percent pure success in a field to which one has remained deeply committed.” That is why the book feels like “one’s own” to everyone who reads it. This has become one of the book’s most important qualities. And now, since the book has also been published in English as G*itonde: Between Two Mirrors, there is a possibility that G*itonde’s achievements will reach art lovers across the world.

Readers feel that the price of this book is high. But that price is meant for art lovers living abroad. (Because the cost of sending the book overseas by courier or post is very high.) However, for Indian readers, we are delivering this book to their homes at the modest price of just Rs. 3,330/-. If you feel that you must have this book in your collection, simply send the message “GAI” to 90040 34903, and the book will be sent to you immediately by courier or post.

Today marks 25 years since the death of G*itonde. Last year, during his birth centenary year, we published the English book G*itonde: Between Two Mirrors in a grand Function. (To watch the videos of this event on YouTube, please click on the link given below.) On this occasion, tomorrow we will publish an article about this book written by senior journalist and artist Prakash Bal Joshi. Do read it!

𝐘𝐨𝐮𝐭𝐮𝐛𝐞 𝐋𝐢𝐧𝐤👇👇
https://youtu.be/3ElDAdJ-T6M?si=1UM4dBbFF5WpBPke

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*itonde

29/07/2026

'𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞' 𝐚𝐧𝐝 '𝐁𝐚𝐫𝐰𝐞' 𝐍𝐨𝐰 𝐀𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 𝐚𝐭 𝐉𝐞𝐡𝐚𝐧𝐠𝐢𝐫 𝐓𝐨𝐨...

During the 1980s, Chinha publications were available at the sales room of Jehangir Art Gallery. However, after Chinha entered its second phase in 2000, those publications gradually stopped being available there. We never really knew why, and to be honest, we too made no serious effort to restore that arrangement. By then, Chinha publications were being distributed extensively and very successfully through social media, making that our primary channel of reaching readers.

When Nivadak Chinha (selected volumes) began to be published, visitors to Jehangir Art Gallery started enquiring about them more frequently. Whenever those enquiries reached us, we responded appropriately and guided readers on how to obtain the books. As a result, we never really faced any significant difficulty in distributing our publications.

However, once G*itonde: Between Two Mirrors Chinha's most elegant and ambitious English publication was released, the number of such enquiries increased dramatically. Responding to each one individually soon became a time-consuming and rather tiresome task Some time ago, a woman art enthusiast visited our home-cum-office in Thane after travelling all the way from the other end of Mumbai. Somewhat exasperated, she asked me the very same question: "Why aren't these books available at Jehangir Art Gallery?" It was that simple but pointed question that inspired me to write a post on Facebook and Instagram.

The post quickly went viral. One reason was that both V. S. G*itonde and Prabhakar Barwe were familiar and much-loved figures at Jehangir Art Gallery. They were regular visitors, often using the gallery's iconic steps and the legendary Samovar Restaurant as meeting places to interact with fellow artists, friends, and members of the art community. As the post spread widely, enquiries began pouring into Jehangir Art Gallery.

This prompted the gallery's Secretary, Mrs. Menon, to call me. She said, "I had a warm and longstanding association with both G*itonde and Barwe. They were truly great artists, and we would be delighted to have books on them available at Jehangir." As a result, beginning last week, all three of Chinha's landmark publications G*itonde (Marathi), Barwe Sanchit, and G*itonde: Between Two Mirrors have once again become available at the iconic Jehangir Art Gallery, the spiritual home of Indian art. For further information, please call or send a WhatsApp message to Chinha at 90040 34903.

*itonde

[Vineel Bhurke, Jehangir Art Gallery, ]

15/06/2026

𝐖𝐡𝐲 𝐀𝐫𝐞 𝐁𝐨𝐨𝐤𝐬 𝐨𝐧 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞 𝐚𝐧𝐝 𝐁𝐚𝐫𝐰𝐞 𝐍𝐨𝐭 𝐀𝐯𝐚𝐢𝐥𝐚𝐛𝐥𝐞 𝐚𝐭 𝐉𝐞𝐡𝐚𝐧𝐠𝐢𝐫?

A few days ago, some guests visiting my home asked me a rather pertinent question: why are books on two of India's greatest painters, Vasudeo G*itonde and Prabhakar Barwe, not available in the sales room of Jehangir Art Gallery the very gallery that witnessed the rise of these two masters?

Frankly, I found it difficult to answer. The people asking the question had been frequenting Jehangir for the last 25-30 years and had themselves organized exhibitions there. A casual or superficial reply would simply not do. Yet, I wasn't quite sure how to explain my own experiences to them.

Finally, gathering my courage, I told them Books such as Chinha's G*itonde, Barwe Sanchit, and G*itonde: Between Two Mirrors are not available there because, according to the management of Jehangir Art Gallery, they do not have the space required to stock them. That, they say, is why books on genuine Maharashtrian and quintessential Mumbai artists painters who left an indelible mark on Indian art are absent from Jehangir's shelves.

In fact, both G*itonde and Barwe were regular visitors to Jehangir. Their favourite meeting spots were the gallery steps and the legendary Samovar Restaurant. Over the years, however, Samovar closed down and the intellectual artists and thinkers who once animated the place gradually stopped coming. After the Covid lockdown, that culture virtually disappeared altogether.

Art lovers and book enthusiasts like me would never leave Jehangir without carrying home a few books tucked into our bags. Slowly, that too came to an end. In fact, the management of Jehangir even refused permission to put up posters announcing the launch of the book G*itonde, citing lack of space! Imagine that.

During the tenure of Ram Chatterjee, many important exhibitions were held at Jehangir, and G*itonde and Barwe participated in several of them. The rare exhibition catalogues that survive today bear testimony to this fact. Those exhibitions undoubtedly contributed to Jehangir's resources and prestige.

Whenever one entered Ram Chatterjee's office, one would invariably find him engrossed in a book. It was during his time that the sales room at Jehangir was established. Publications from the Lalit Kala Akademi in Delhi, and institutions in Kolkata and Madras, were all available there. But after Chatterjee's passing, everything gradually began to decline.

It was as though culture and refinement were slowly driven out of the Jehangir precincts. First, the gallery's library came under attack and was abruptly shut down. It housed many rare books. What became of them, nobody knows. Then Samovar disappeared, and finally the glory of the sales room itself faded away.

For readers and collectors of art books and journals like me, this has been an immense loss. But whom does one tell, and who is willing to listen? The entire situation is enough to make one feel like banging one's head against a stone wall.

That is why, however painful the truth may be, books on great artists like G*itonde and Barwe are nowhere to be seen in the very Jehangir Art Gallery from which they rose to prominence.

To be fair, Chinha has painstakingly built its own independent distribution network for Marathi books and periodicals. We have never depended upon Jehangir, nor do we today. However, the English-language publishing sphere is relatively new to us. We are confident that we shall eventually overcome those challenges as well.

Yet one question continues to trouble us: how and when will we reach the foreign art lovers and tourists who visit Jehangir? We hope that a solution to that problem, too, will emerge in due course.

Those interested in obtaining Chinha's G*itonde (Marathi Edition), Barwe Sanchit (Marathi Edition), and G*itonde: Between Two Mirrors (English Edition) at special discounted prices may kindly contact on 90040 34903.

*itonde

08/06/2026

Notes from Editor's Sketchbook! 50 years with G*itonde !
Part 16

‘𝐈𝐧 𝐒𝐞𝐚𝐫𝐜𝐡 𝐨𝐟 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞' - 𝐂𝐨𝐧𝐭𝐢𝐧𝐮𝐞𝐝

Maybe that is why I started receiving various suggestions regarding the book 'G*itonde' from my numerous artist and art collector friends. 'The work you have done regarding G*itonde is very important. It should at least be published in English, if not in any other language. Only then will G*itonde's extraordinary life and his extraordinarily beautiful abstract paintings be able to reach art lovers all over the world.' I was truly shocked to see the continuous flow of all such suggestions. Because there was a time when I published three special issues of 'Chinha' on G*itonde, some in the field of painting even criticized me rather harshly. 'What is this G*itonde G*itonde again and again? Are there no other artists? Three issues on G*itonde alone is too much!' Such criticism was directed towards me, indirectly. Not only that, but numerous artists also expressed their disapproval of this in a heated discussion on social media, especially Facebook. But needless to say, I didn't pay attention to it.

(To be continued)
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This is the prolonged editorial written by Editor Satish Naik, for 'G*itonde: Between Two Mirrors ', a biographical tribute to Vasudev G*itonde, which was published by Chinha Publications in February 2025.

Do read and share your views and impressions...

Upon reading the editorial, if you wish to buy the English book G*itonde: Between Two Mirrors, please contact us on 90040 34903. However, for ordering the original Marathi book G*itonde, please send a message "G*i" on the same number. Your copy will be dispatched within 24 hours.

𝐒𝐩𝐞𝐜𝐢𝐚𝐥 𝐎𝐟𝐟𝐞𝐫 : The G*itonde: Between Two Mirrors is currently available at a discounted price of ₹3,000 for a limited period.

*itonde *itonde

14/05/2026

90043 34903

This is Chinha’s old WhatsApp number, and it has now been reactivated!
Please take note.

27/03/2026

Notes from Editor's Sketchbook! 50 years with G*itonde !
Part 15

‘𝐈𝐧 𝐒𝐞𝐚𝐫𝐜𝐡 𝐨𝐟 𝐆𝐚𝐢𝐭𝐨𝐧𝐝𝐞'

Another thought always comes to mind. Even though G*itonde's contemporaries like Hussain, Souza, Raza, Bakre, Gade, Satwalekar, Mohan Samant, Raiba, Sadwelkar Padamsi, Tyeb Mehta, Bal Chhabda, Hebbar, Ara, Bhanu Athayya, B Prabha, B Vitthal were all around, I am myself much surprised that it never occurred to me to talk to any of them or get information about G*itonde. If we had been able to collect the memories of all these, this book on G*itonde could have reached greater heights.

Let me share with you an incident in this regard. We published a special issue of 'Chinha' on G*itonde, titled ‘G*itondenchya Shodhat’ ('In Search of G*itonde'), in 2006. As soon as the copy reached, I received a call from the former Art Director of Maharashtra state and renowned painter Madhav Satwalekar. He said, “Satish, you have done a great job. We used to meet Baal (G*itonde's nickname) every day at the Artists’ Center or Jehangir Art Gallery. We would chat a lot, discuss many topics. Many times, we would even argue. But Baal never opened his mouth to tell us his sorrow or let us know even a bit about his difficulties. When you published all this in this issue after so many years, it all came to light.” I still believe that this was the best appreciation we received for the research we did on G*itonde! Even today, I still feel that if we had received the memories of the person who took all the cuttings about G*itonde from me or the doctor at Delhi who treated G*itonde, we could have done a more significant documentation about G*itonde. But we don't have to stop at a full stop of such ifs and buts. If we had stopped, would the work that 'Chinha' has done regarding G*itonde would have been ever possible? This thought also comes to my mind and I keep going...

(To be continued)
-------------------------------

This is the prolonged editorial written by Editor Satish Naik, for 'G*itonde: Between Two Mirrors ', a biographical tribute to Vasudev G*itonde, which was published by Chinha Publications in February 2025.

Do read and share your views and impressions...
Upon reading the editorial, if you wish to buy the English book 'G*itonde: Between Two Mirrors', please contact us on 9967795054. However, for ordering the original Marathi book 'G*itonde', please send a message 'G*i' on the same number. Your copy will be dispatched within 24 hours...

*itonde *itonde

02/03/2026

Notes from Editor's Sketchbook! 50 years with G*itonde !
Part 14

‘𝐀 𝐓𝐞𝐫𝐫𝐢𝐛𝐥𝐞 𝐀𝐜𝐜𝐢𝐝𝐞𝐧𝐭'
Another experience is that, no matter from whichever page of this book the reader starts reading, he continues to read that article or the entire book till the end. The credit for this is not mine or Kamlesh's, but of G*itonde's unique personality or his turbulent life. We were able to present it all with great sensitivity, and that is our credit. While doing this, we literally poured our lives into it, which is probably why it is difficult for anyone to plagiarise the content. Perhaps it is for these reasons, that I also suspect that the plans declared to publish those three or four books on the occasion of G*itonde's birth centenary must have never materialized.

This does not mean that I will ever say that the search for 'G*itonde' is complete. There are some imperfections in every perfect thing, and the same would be the case with this book too. For example, I sincerely wanted the autobiographical narration of the doctor in Delhi who treated G*itonde after his terrible accident to be published in this book. That doctor was also happily willing to share his experiences. But a person who did not want this narration to appear in this book forbade that doctor from cooperating with me. But while the preparation of this English book was underway, we suddenly met another doctor in Mumbai who treated G*itonde and helped him prepare physically and mentally to paint, and who gave G*itonde a walking stick to make him stand straight. Due to this, we were able to present a unique aspect of G*itonde's development after the terrible accident, to the readers.
(To be continued)
---------------------------------------------------------

This is the prolonged editorial written by Editor Satish Naik, for 'G*itonde: Between Two Mirrors ', a biographical tribute to Vasudev G*itonde, which was published by Chinha Publications in February 2025.

Do read and share your views and impressions...
Upon reading the editorial, if you wish to buy the English book 'G*itonde: Between Two Mirrors', please contact us on 9967795054. However, for ordering the original Marathi book 'G*itonde', please send a message 'G*i' on the same number. Your copy will be dispatched within 24 hours...

*itonde *itonde

19/02/2026

𝐃𝐨𝐧’𝐭 𝐌𝐢𝐬𝐬 𝐈𝐦𝐩𝐨𝐫𝐭𝐚𝐧𝐭 𝐀𝐫𝐭 𝐔𝐩𝐝𝐚𝐭𝐞𝐬!

One of the key initiatives undertaken by ‘Chinha’ for the promotion of art is the ‘WhatsApp Updates Group’ run by the organization. Through this group, we regularly share information related to art exhibitions, art competitions, art awards, prizes given by various institutions, popular art-related posts on social media, scholarships, art news, and most importantly, invitation cards for exhibitions held in various art galleries across metro cities. These updates are extremely useful for art students, researchers, artists, and art enthusiasts.

A large number of people have already joined this What’sApp group, and the membership continues to grow every day. No fee or membership charge is required to join this group. Moreover, we do not charge any fee from artists whose exhibition invitation cards are circulated in the group.

If you are an artist, an art student, a researcher, or an art lover, you can join this initiative at any time by clicking on the link provided in the comment box. You may also invite your friends to become part of this initiative. Since this is a one-way (Admin Only) group, there are no unnecessary discussions or debates.

If you are an artist, please do not forget to send us your exhibition invitation cards on chinha’s WA - 99677 95095.

17/02/2026

Notes from Editor's Sketchbook! 50 years with G*itonde !
Part 13

‘𝐀𝐬𝐬𝐞𝐬𝐬𝐢𝐧𝐠 𝐚 𝐓𝐨𝐰𝐞𝐫𝐢𝐧𝐠 𝐏𝐞𝐫𝐬𝐨𝐧𝐚𝐥𝐢𝐭𝐲'

The book 'G*itonde', which chronicles all the events right from his birth to his death, has gained immense credibility because it is narrated with great passion and intimacy in the autobiographical narrations of various people who were in his company. In fact, unknowingly it creates the impression as if all these people who came into G*itonde's life are conversing with the readers personally and telling them about G*itonde, which has come out as a very effective way of narration. Nobody had a significant position in G*itonde's life except for painting. But the very few people who came into his life for a short while have narrated it, and G*itonde's life has been portrayed in their own words. Therefore, there may have been repetitions in some places, but from that we are certainly able to see the different perspectives of different people looking at the same event. While doing this, whether I or my colleague Kamlesh Devrukhkar, who transcribed most of the interviews, were both overwhelmed by G*itonde's lofty personality. Every evening or at night after each interview, when we would discuss from time to time what we had learned from it, we would realize that we were doing something different. Our effort was to smoothly convey that same realization to the readers through our articles or editing. Kamlesh rewrote each article several times. By the time the book went to print, I had read each article about 30-35 times and rewrote it wherever necessary. My experience while doing all this was that every time I was reading something, something new was unfolding before me. Numerous readers I met later told me that they too had the same experience.
(To be continued)

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This is the prolonged editorial written by Editor Satish Naik, for 'G*itonde: Between Two Mirrors ', a biographical tribute to Vasudev G*itonde, which was published by Chinha Publications in February 2025.

Do read and share your views and impressions...
Upon reading the editorial, if you wish to buy the English book 'G*itonde: Between Two Mirrors', please contact us on 9967795054. However, for ordering the original Marathi book 'G*itonde', please send a message 'G*i' on the same number. Your copy will be dispatched within 24 hours...

*itonde *itonde

Artist V.S.Gaitonde

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