Veteran Pakistani painter Saeed Akhtar has a long history of contribution to art, both as an art practitioner and academician. Born in 1938, and a Fellow of the National College of Arts Lahore, he founded the Saeed Akhtar Studio (SAS) in 1966, which has not only been his personal workspace but also a place of learning for students of art. A much decorated and celebrated artist, he has received various top-level awards in Pakistan, including the Sitara-i-Imtiaz and the Pride of Performance. Unsurprisingly, his recent solo show at Lahore’s Ejaz Gallery opened amidst much fanfare and excitement amongst art lovers. His last solo was held in 2009 and thus this show was much awaited by his admirers.

Akhtar’s forte has always been portraiture, and he has indeed acquired an iconic status in this genre. This recent exhibition, too, was mainly a display of his prowess in the same, though he does present a few canvases featuring horses, which again is one of his favourite subjects. Having viewed his work since the past many years, one notices how his earthy realism has evolved into something more lyrical and dreamy and often even rooted in fantasy. This latter characteristic is particularly true for his portrayal of the female form, which in this recent solo show presents itself in distortions of proportions and features. Of late, Akhtar’s rendering of women had become increasingly sensuous and decorative and the colours used are multifarious, bright and luminous. In this collection on display, one notices the emphasis on a more select palette, featuring shades of gold, ochres and black.

Saeed Akhtar’s prolific output of portraits feature both sensitive realism and his foray into fantasy

It may be mentioned that the greater segment of this show features portraits of Pakistani men in tribal attire, and rendered in black and white, using charcoal on paper. There is a marked tilt towards sensitive realism in these portraits, especially when compared with the female portraits, where fantasy intervenes. The prolific output of sketches is mesmerising and one marvels at the dexterity with which the artist captures features and expressions. The eyes are invariably intense and the expressions sombre. The element of lyrical sensitivity is brought forth by the way subsidiary elements of the portrait, such as details of the person’s attire, are rendered with a deft and measured minimalism. Focus remains on the facial expressions and a deep impression is evoked in the viewer. The artist’s self-portraits also feature in this exhibition, one in black and white and another in colour, using oil paints on canvas. Both are impressive and even reminiscent of Akhtar’s very early works. The element of earthy realism and astute sensitivity in capturing expressions are brought forth.

The prolific output of sketches is mesmerising and one marvels at the dexterity with which the artist captures features and expressions. The eyes are invariably intense and the expressions sombre.

The current show featured Akhtar’s work made between 2012 and 2017. It displayed both the propensity for acute realism and the foray into fantasy with, perhaps, the occasional lapse into a more market-oriented indulgence. But indeed, the artist makes his mark, yet again, as the maestro of portrait-making in Pakistan.

The solo exhibition of Saeed Akhtar was held at the Ejaz Gallery in Lahore from January 14 till January 24, 2018

Published in Dawn, EOS, February 4th, 2018