Still-Life with Anemones and The Chariot of a New Race

Still-Life with Anemones and the Chariot of a New Race

As the Impressionist Festival starts in Normandy this summer, one cannot help but remember the glorious birthplace of romanticism in paintings from Delacroix to Monet. Its the nature that is depicted with love- the frills, the caprices, the fleeting moods and the light.  Here I have tried to do meditation on this painting done by Claude Monet in 1885 titled Still-Life with Anemones. The objective behind my work was to enter into the consciousness of this painting and to reveal as I have felt the evolution of its consciousness with respect to time. I call this Consciousness-Analogue and this is not poetry but a form, a rhythm that comes directly from this painting.

Still-Life with Anemones and The Chariot of a New Race

Still life glances at the bare thoughts

A naked sign floats in the stream of ignorance and death

Beauty resides imprisoned in a shell

The glory of the sunbeam hasn’t touched her hairs

A tragic world lives in its past, crumbles the present

The future is hidden from the mortal eyes

An emblem chariot is deserted in the fields

The rose is plucked by the dire hands of a monstrous time

Too long in the sands under the desert sky

There’s the riddle that perplexed man and his friends

His kingdom laid waste in a gleam of illusions

There Europe lay battered in the centre of its birth

A ravished Leda, “a broken Coriolanus”, a murder in the Capitol

All these have swept the tide of our times,

The aeon-rings of this delivered birth

From the empty-handed void to the colossal death

Nothing changed the course of this ancient proceed

Nothing altered this submission to an unchanged destiny

But a grace can act in our dreams, move and surcharge and grow

Like the beautiful anemones in the casket of light

This great supramental force taking its birth

To blow the winds away from a cold heartless time

The darkness shall end with the eternity of dawn

And the slumbering fields draw the new chariot of a race.

– Joy Roy Choudhury

Kindly note the reference,  “a broken Coriolanus” from T.S. Eliot’s The Wasteland v. What the Thunder Said (“Revive for a moment a broken Coriolanus”)

For more info, contact:


Pissaro’s Dynamic Cityscape and the Involuntary Will

Cityscape and the Involutary Will

A winter morning at the Boulevard Montmartre – everything here is in a state of dynamism, the painting itself exhibits the movement in the cityscape that changes with time. Nothing is static: people, vehicles, trees, leaf, odor, taste and sound. There is only Self Permanence in the artist’s will and that is held in a sharp contrast to the outward creations in nature. It’s the will that’s not subject to the law of flux and change. And this will of higher consciousness comes from the psychic entity of the self, and from the inner-depths of the spirit. It embodies the truth in things and rarefies the real, or the subject of vision. As a part of the process, the self-delight of the involuntary will becomes the real source of the creation in the world, and the joy to be.

– Joy Roy Choudhury, Art-lover, Consultant, Art-Critic @ ArtVantage /Email:

Claude Monet’s Impression, soleil levant (1872): One of the First Impressions of the Rtam Brhat or the Vast Truth in the history of art

An Impression of the True Light

This famous painting by Claude Monet delineating the view of the Le Havre harbour, is a kind of impression one has when he is trying to establish his inner-psychic connection with the splendour of nature. And what best than to recapture the vision of the sea and the boats amidst the sunrise, as if the artist is set to create a vision of the beginning of things in the creational world. Although, it can be rightly said that emotions play an important part in impressionist paintings but it’s the purity of nature and often of the subjects that subtilises the process making the impressions more calm and detached from the artists who have created them. Here the theme of the sunrise and the reflection on the waters is purely a spiritual symbol- one associated with Truth or Light of the all-illumining sun. In the Vedas its the vast Truth called the rtam brhat and the True Light.  Apart from just seeing this painting as a physical sunrise, we can see the illumination and the reflection on the waters have direct underlying messages mentioned in the Vedas as higher-consciousness of the truth and of the descent of light and bliss. The conception of the Dawn is central to the understanding of the Vedas and of spirituality, here the creative transformative process is reflected in the waters as the sun and also the descent of higher-knowledge in the psychic.

– Joy Roy Choudhury, ArtVantage- Art Lover, Critic, Consultant. Email:

Camille Corot’s, Souvenir of Mortefontaine (c.1864): A Self-Belief in Things as the Highest Expression in Art

Landsacape Reflecting the Self-Belief in Things: The Nature of Brahman

“But he who sees everywhere the Self in all existences and all existences in the Self, shrinks not thereafter from aught”. – Isha Upanishad (Translation by Sri Aurobindo)

Critics have often said that in Corot’s impressionist landscapes there is a pattern and a formula. If you compare the sketch of the trees in this painting with the 1850 work, Morning, the Dance of the Nymphs, you will be probably taken up to believe as the critics did. Whether Corot was the precursor of impressionism or a neoclassical landscape painter, is also of very low importance, because the Optical Serenity his paintings generate are far more clearer expressions of the Self than anything else and fundamentally that’s what matters in high-art. Coming back to the seminal landscapes, these are the perfect self-expressions and like a mirror pictured, to quote John Keats’ words, the “still unravished bride” of inner quietness. Nature, here, in the highest of forms is a pure replica of the Self or the Brahman. What Corot has done as an artist is the calm rebellious surrender of the vital mind and the body to the inner- psychic being and this only to affirm his self-belief in things of nature as cosmic entities and his self-expression in art as forms to communicate with the Power and Light that lies within and beyond.

– Joy Roy Choudhury, Art-Lover, Critic, Consultant & Writer.