of his paintings are not what
you and I would want to see hanging in our houses or offices.
However, a look at some of these paintings give an insight to the
cruel, corrupt and unpleasant society we are forced to live in.
S. H. Sarath, the well-known artist, there is no limit to the
thoughts and ideas that flow through his mind. Sarath differs from
other artists, in that he paints without restriction. Painting is
now a part of Sarath's life.
artist with unusual flair, creativity and talent would be the best
way to describe Sarath, who has in his own way made people aware of
the complicated lives they lead.
to The Sunday Leader Sarath says that people are yet to understand
the vicious life cycle they live in. "Through my paintings I
try as much as possible to give out special messages to the public.
Some of my paintings are depressing but I think it is important to
make people understand the reality of life," says Sarath.
paintings also include human figures, animals, sceneries, nature and
line drawings. Selected collections of Sarath's paintings can be
seen at the State Collection of the President of Sri Lanka, the
National Art Gallery Colombo, Trans Asia Hotel Colombo, Commercial
Bank Head Office, Education Ministry, Koggala Beach Hotel, Tissara
Beach Hotel, National Library Services Board Colombo, ANZ Bank in
Norwood, Adelaide and South Australia, West Pack Bank Head Office
Adelaide, South Australia, Calusa University of South Australia,
Napean University of Western Sydney, Ecka Art Gallery Yugoslavia,
Aud Slingnes Gallery Stavanger Norway and the Amara Gallery
his selected International exhibitions are those held at the Oxfam
Exhibition, Glasclow and London UK and in the SAARC countries
National Gallery of Modern Art New Delhi and Trivandrum India in
1992. The Oxfam Exhibitions, Smith Galleries, London, UK in 1993,
Asian Watercolours 95 Bangkok in 1995 and the sixth Triennial
Mondiale, France in 2003.
has held many solo exhibitions that include the Foyer Gallery
Ottawa, Canada 2000, The Alliance Francaise in 2002, The Artist
Gallery in 2003 and The Harold Peiris Gallery Colombo in 2004.
experiences include work at the Government College of Fine Arts
Colombo from 1968 to 1973, UNESCO Fellowship, Silpakorn University,
Bangkok from 1979 to 1980, vice president of the Ceylon Society of
Arts 1981 to 1983, Member of the Arts Panel, Ministry of Cultural
Affairs, Art Council Sri Lanka 1983 to 1994, Art Consultant 1985 to
1987, Ecka Art Colony Programme Yugoslavia 1985 and Project Officer
(Art), Ministry of Education and Higher Education Sri Lanka 1985
1993 Sarath was an invitee from the Family. Through Children's Eyes,
International Museum of Children's Art Oslo Norway and was connected
to the Visual Arts University of South Australia from 1995 to 1996.
latest exhibition will be held at the Felix Gallery Colombo 7, from
March 5-27 from 10 a.m. to 9 p.m.
Archer is a lady. And by
token, a lady is a very free spirit; charming, virtuous,
independent, with a beauty and radiance that emanates from the
inside and spreads through her being. She is also a personality.
Intelligent, presumptuous, probably brilliant, rather impulsive. A
charming young woman "affronting her destiny" as Henry
James puts it.
Portrait Of A Lady, an all-time favourite and the novel closest to
my heart, is however more than a sketch of Isabel Archer. It is,
among a host of other things, a study of a strong, free, brave,
righteous and proud head, within the body, and equipped with the
heart, of a woman. The heart please note, of a woman. A fatal
combination in a brutal world, then - and now. Isabel's only 'fault'
is her pride - an apparently undesirable quality especially in a
it was just a couple of years ago that a fellow journalist at a
media event actually advised me, and I quote, "A woman should
not have any pride. It is not right. Pride is totally a man's
pride in the form of arrogance is low and base and, in that sense
nobody's domain. But there is a different kind of pride surely. Not
of the superficial variety that looks down at the world, but rather
the pride of the noble. The pride of a pure heart and a clear
conscience. The pride of a knowing, deep down inside, no matter what
the world says or thinks, that one is refined, cultured, gracious,
generous, decent. And because of these qualities, believing that one
deserves the very best - especially in a partner. For should not the
soul-mate of such a person posses a similarly deep and clear soul?
at any rate is how Isabel Archer thinks. It leads her to reject a
lord and an industrial magnate, both of whom are passionately in
love with her, only to accept a man, a veritable nobody compared
with her other illustrious suitors - a man whom she believes
possesses the most beautiful mind in Europe. A belief that is
eventually to prove shockingly and disastrously wrong.
story is simple. A poor American girl who values her independence
and does not look to a man to "furnish her with a destiny"
is brought to England by her rich aunt. She is an instant success;
liked by everyone, loved by many. Her uncle upon his death bequeaths
a large sum of money to her, leaving her an heiress. Having rejected
what are technically termed 'great' offers (of marriage), she falls
for the biggest, if cleverest and superficially most tasteful,
fortune hunter and egotist.
do justice to James' sense of fairplay - Isabel is indeed too sure
of herself - and that leads to her fall. Yet, as her cousin and
ardent admirer remarks "I don't believe that such a generous
mistake as yours can hurt you for more than a little." It is
probably to emphasise the impassiveness of Ralph's short life as an
invalid that such a statement is made by a man as exceptional and
clever as him, for surely it is the most generous mistakes we make
that we pay the hardest and longest for?
Archer is the kind of woman who truly should have married that
knight or warrior prince - that is a prince or knight not
necessarily by birth or merely in name - but in spirit.
Kafka, the son of Julie L”wy and Hermann Kafka, a
was born into a middle-class Jewish family. After two
brothers died in infancy, he became the oldest child,
forever conscious of his role as older brother; Ottla, the youngest
of his three sisters, became the family member closest to him.
strongly identified with his maternal ancestors because of their
spirituality, intellectual distinction, piety, rabbinical learning,
eccentricity, melancholy disposition, and delicate physical and
mental constitution. He was not, however, particularly close to his
mother, a simple woman devoted to her children. Subservient to her
overwhelming, ill-tempered husband and his exacting business, she
shared with her spouse a lack of comprehension of their son's
unprofitable and possibly unhealthy dedication to the literary
"recording of (his)...dreamlike inner life."
figure of Kafka's father overshadowed Kafka's work as well as his
existence; the figure is, in fact, one of his most impressive
creations. For, in his imagination, this coarse, practical and
domineering shopkeeper and patriarch, who worshiped nothing but
material success and social advancement, belonged to a race of
giants and was an awesome, admirable, but repulsive tyrant.
Kafka's most important attempt at autobiography, Brief An Den Vater
(written 1919; Letter To Father), a letter that never reached the
addressee, Kafka attributed his failure to live - to cut loose from
parental ties and establish himself in marriage and fatherhood - as
well as his escape into literature, to the prohibitive father
figure, which instilled in him the sense of his own impotence.
felt his will had been broken by his father. The conflict with the
father is reflected directly in Kafka's story Das Urteil (1916; The
Judgment). It is projected on a grander scale in Kafka's novels,
which portray in lucid, deceptively simple prose a man's desperate
struggle with an overwhelming power, one that may persecute its
victim (as in The Trial) or one that may be sought after and begged
in vain for approval (as in The Castle).
the roots of Kafka's anxiety and despair go deeper than his
relationship to his father and family, with whom he chose to live in
close and cramped proximity for the major part of his adult life.
The source of Kafka's despair lies in a sense of ultimate isolation
from true communion with all human beings - the friends he
cherished, the women he loved, the job he detested, the society he
lived in - and with God, or, as he put it, with true indestructible
son of a would-be assimilated Jew who held only perfunctorily to the
religious practices and social formalities of the Jewish community,
Kafka was German both in language and culture. He was a timid,
guilt-ridden, and obedient child who did well in elementary school
and in the Altst„dter Staatsgymnasium, an exacting high school for
the academic elite. He was respected and liked by his teachers.
however, he rebelled against the authoritarian institution and the
dehumanised humanistic curriculum, with its emphasis on rote
learning and classical languages. Kafka's opposition to established
society became apparent when, as an adolescent, he declared himself
a socialist as well as an atheist. Throughout his adult life he
expressed qualified sympathies for the socialists; attended meetings
of the Czech Anarchists (before World War I); and, in his later
years, showed marked interest and sympathy for a socialised Zionism.
then he was essentially passive and politically unengaged. As a Jew,
Kafka was isolated from the German community in Prague, but as a
modern intellectual he was also alienated from his own Jewish
heritage. He was sympathetic to Czech political and cultural
aspirations, but his identification with German culture kept even
these sympathies subdued. Thus, social isolation and rootlessness
contributed to Kafka's lifelong personal unhappiness. Kafka did,
however, become friendly with some German-Jewish intellectuals and
literati in Prague, and in 1902 he met Max Brod; this minor literary
artist became the most intimate and solicitous of Kafka's friends,
and eventually he emerged as the promoter, saviour, and interpreter
of Kafka's writings and as his most influential biographer.
two men became acquainted while Kafka was indifferently studying law
at the University of Prague. He received his doctorate in 1906, and
in 1907 he took up regular employment with an insurance company. The
long hours and exacting requirements of the Assicurazioni Generali,
however, did not permit Kafka to devote himself to writing. In 1908
he found in Prague a job in the seminationalised Workers' Accident
Insurance Institute for the Kingdom of Bohemia. There he remained
until 1917, when tuberculosis forced him to take intermittent sick
leaves and, finally, to retire (with a pension) in 1922, about two
years before he died. In his job he was considered tireless and
ambitious; he soon became the right hand of his boss, and he was
esteemed and liked by all who worked with him.
fact, generally speaking, Kafka was a charming, intelligent, and
humorous individual, but he found his routine office job and the
exhausting double life into which it forced him (for his nights were
frequently consumed in writing) to be excruciating torture, and his
deeper personal relationships were neurotically disturbed.
conflicting inclinations of his complex and ambivalent personality
found expression in his sexual relationships. Inhibition painfully
disturbed his relations with Felice Bauer, to whom he was twice
engaged before their final rupture in 1917. Later his love for
Milena Jesensk Pollak was also thwarted. His health was poor
and office work exhausted him. In 1917 he was diagnosed as having
tuberculosis, and from then onward he spent frequent periods in
1923 Kafka went to Berlin to escape from his paternal family and
devote himself to writing. In Berlin he found new hope in the
companionship of a young Jewish socialist, Dora Dymant, but his stay
was cut short by a decisive deterioration of his health during the
winter of 1924. After a brief final stay in Prague, where Dora
Dymant joined him, he died in a clinic near Vienna.