Arpana Caur: Early Works

This piece from Arpana Caur's 'Mother' series explores the enduring bond between mother and child. The artist's own experiences shaped this emotional exploration of maternal strength.

Arpana Caur's 'Widows of Vrindavan' series portrays the thousands of widows abandoned in Vrindavan and Varanasi. As Gayatri Sinha notes, these women, stripped of identity, are destined to a life of prayer, awaiting Krishna.

"How should I tell you her condition O lord of her life Krishna; The blaze of her parting now burns her so grievously that death would be a blessing." Bihari, Satasai

'After the Massacre' is a powerful series by Arpana Caur that was exhibited in 1985. The works confront the tragic events of the 1984 massacre of Sikhs in Delhi.

At just 9 years old, Arpana Caur created 'Mother and Daughter', revealing an early interest in maternal themes and the artistic influence of Amrita Sher-Gil.

Arpana Caur's 'Maid' depicts a young girl tending to her mistress's children, a poignant commentary on social disparities and the burdens placed on the vulnerable.

In 'World Goes On', Arpana Caur depicts the 1984 massacre through a drowning figure, inspired by ancient Punjab Hill Miniatures. The etching captures the indifference of onlookers and the artist's enduring connection to the tragedy.

Within the 'Widows of Vrindavan' series, Caur highlights the shared experience of these women. The young and old alike face the inevitable passage of time.

This painting, reflects Caur's early interest in social disparities, highlights the connection between generations of women facing hardship. In this painting, the artist as a young girl can be seen reaching out to a widow.

This painting explores the themes of exploitation and control through the image of a young girl and a juggler. It emphasizes the delicate balance between power and vulnerability.