Lalani Nan’s paintings are transporting — not sure I can tell you why I find them so; not sure I want to.  When words like color, texture, sensuality, abstraction start playing in my brain, I’ve moved away from the paintings.  So, instead, here they are on the Ricco Maresca gallery site.


  1. It struck me that among the paintings I’ve seen of the Madonna and Child in classical western art there was none that I can remember where the Madonna was breastfeeding the infant Jesus, and if there was, her breasts were certainly not displayed as they are in the painting of the Madonna and White Cat. It’s curious that after spending centuries battling the Gnostics who denounced the true flesh of the Christ and taught the worthlessness of human flesh, the western church chose to cover the flesh of Mary as if it was unsuitable for the art it commissioned. It certainly displayed the tortured flesh of the crucified Christ clearly enough. One might think the church’s taste in art almost ran counter to what it preached and fought against in the early centuries of Christianity’s past.

  2. (Somehow your comment got posted here rather than on “From the Shadows into the Limelight” — not sure how that happened…)

    I agree, Bob: it is not uncommon to see Madonnas with one breast exposed as she nurses her child, but this frontal, double-exposure is rather remarkable. I would assume that this is because breasts in India were not covered as assiduously as they were in Europe — not until the British arrived, that is. So perhaps in looking at European prints as a model, the painter felt it was only natural to uncover both breasts. Or perhaps that is the way the Indian painter remembered the print he saw… Glad you pointed this out because I had not focused on that at all.

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