The Humble Beginnings of Chennai's Art Scene
P Gopinath, a founder of Cholamandal Artists’ Village, recalls the poignant story of Ramanujam, a brilliant young artist from the 1960s. His family considered him a failure and pushed him out. “Artist K C S Paniker gave him a place to stay, from where he produced some exceptional works,” says Gopinath. “There were no galleries to display his art then. He hardly had money to buy canvas and would sell his work for ₹100 each. He died at the age of 32. Today, his pieces are worth ₹15 lakh, and are sought after.” This narrative, among others, inspired the establishment of Cholamandal Artists’ Village in 1966 as a commune for artists.
Early Struggles and the Calendar Culture
Chennai has undergone a significant transformation from an era when contemporary and abstract art found no buyers. Sarala Banerjee, director of Sarala’s Art World—the city's first art gallery—remembers its inception 60 years ago. “Chennai had the first contemporary art college in the country (Govt College of Fine Arts), so why not a small gallery, my parents thought.” However, for decades, the Banerjees survived on framing services rather than art sales, while Cholamandal artists sustained themselves by crafting and selling items.
Gopinath notes that while Bombay and Delhi boasted art galleries, Madras remained entrenched in calendar culture. Calendars featuring deities and Ravi Varma prints were bestsellers. “There was little familiarity with art, which stemmed from a lack of exposure. Aspiring artists would get into painting film hoardings. They had no time for their own creative work.”
Gradual Growth and Persistent Challenges
Even after Cholamandal and Sarala’s began exhibiting talented artists' works, sales remained dismal. Sarala explains, “Most visitors to the gallery came out of curiosity or exposure to art from travel, but most still bought traditional Tanjore paintings because that’s what they were familiar with.” Anahita Banerjee, co-director at Sarala’s, attributes Chennai's insulation to a language barrier. “Artists here were shy and did not aggressively market themselves in other cities.” She recalls her grandfather promoting works by M F Husain and Jahangir Sabawala in the 1980s, often coaxing buyers. “They are worth crores today.”
The 1980s saw galleries like Apparao Galleries emerge, but founder Sharan Apparao describes it as a “passion project for the love of art.” “Collectors in Delhi and Bombay were not interested in the works of artists who remained in Madras, unless they moved north or to Baroda and made a name for themselves, like K G Subramaniam. Their prices were low compared to the works of Husain and S H Raza.”
The Modern Art Market Boom and Current Realities
Post-2000, liberalization spurred gradual growth in Chennai's art business. Sharan notes, “Most industrialists here still supported performing arts rooted in religion and tradition, but there were a few who supported art.” Sarala identifies a boom around 2004-2005, despite subsequent dips. “Tanjore works will continue to be popular, but contemporary art has takers now.” Art awareness has peaked, with Sharan highlighting the role of social media, online markets, and technology in creating transparency. “Everyone has their eyes on Chennai artists such as Paniker and P Perumal now, artists they had no clue about. Chennai will get ‘hot’ soon.”
National Recognition and Market Disparities
Chennai artists are now exhibiting internationally and participating in online auctions. However, the market remains sluggish compared to other cities, says art collector Sekhar Sitharaman. “Few artists are present at the national level.” Some, like the late Achuthan Kudalloor, are gaining traction in the north. “The same work which sells for ₹2 lakh in Chennai may go for ₹12 lakh when it goes to Delhi. But our artists are nowhere near the crore range.” Younger artists market themselves better but not sufficiently, he adds.
Many Chennai buyers still purchase directly from artists, bypassing galleries. Sitharaman points out, “The artists either underprice or quote unrealistically high rates. It also cuts out commissions that help galleries promote artists.” Srila Chatterjee, founder of Baro Art in Mumbai, observes that many buyers are first-time collectors influenced by architects and interior designers. “This year the footfalls felt quieter. But that is part of how young markets evolve.”
Auction Success and Future Prospects
Manoj Mansukhani, marketing director at AstaGuru Auction House, notes that several Madras Art Movement artists show strong market performance. “In our auction results, works by artists such as K M Adimoolam, Achuthan Kudallur and P V Janakiram have surpassed their higher estimates, suggesting buyers are approaching these works with a clear understanding of their artistic and market value.”
Sharan emphasizes the need for competition to boost the market. “To create a market, more people should buy and compete with each other. The more people are interested in a work, the more the visibility and the better the pricing.” Madras Art Movement artist C Douglas urges galleries to proactively contextualize local artists. “Galleries in Chennai should proactively contextualise Madras artists and elevate them to the level of national artists. But above all, art has its value regardless of the market.”
