Autor
Narozen(a) v Shimla, India
Early Life and Artistic Beginnings
Born in Shimla, India, Avinash Chandra was raised in both Shimla and Delhi. His family initially intended for him to study engineering, and for the first six months of his enrollment at the Delhi Polytechnic Art School, his family remained unaware that he was pursuing art. He eventually graduated in 1951 with a first class degree in Fine Art and joined the faculty staff, where his students included Paramjit Singh, Arpita Singh, and Gopi Gajwani.
In 1954, Chandra won first prize at the First National Art Exhibition of Art in New Delhi. He later received the gold medal Prix Européen in 1962. In 1956, he moved to Golders Green, London, with his first wife, the artist Prem Lata Chandra, who had been awarded a scholarship to study at the Central School of Art.
Exhibitions and Legacy
Chandra's work has been featured in various exhibitions and documentaries, including a BBC Monitor documentary presented by W.G. Archer and a 2018 BBC documentary titled Whoever Heard of a Black Artist?. His solo exhibitions include a show at the Hamilton Galleries in London in 1965 and an exhibition at the Horizon Gallery, London, in 1987. He was also part of the exhibition The Other Story: Afro-Asian artists in post-war Britain at the Hayward Gallery in 1989.
His artistic output includes murals in glass created for the Anglo-Dutch Cigar Company in Finchley and for the Pilkington Brothers Glass company in St Helens, Merseyside. His works are held in several collections, including:
Muzeum
Vystaveno v United Kingdom
The History of 2 Willow Road
2 Willow Road is a terrace of three houses located in Hampstead, London. Designed by the architect Ernő Goldfinger, the building was completed in the summer of 1939. The project emerged from a period of significant debate regarding the introduction of modernism to the neighborhood. While initial proposals for a block of studio flats were rejected by the London County Council in 1936, the revised plans for these three residential houses were eventually realized.
The house served as a private family home for many decades. Ernő Goldfinger lived within these walls alongside his wife, Ursula, and their children until his death in September 1987. The residence remained a part of the family's life through much of the twentieth century, maintaining its original character and purpose as a domestic space.
The property was eventually handed over to the National Trust by Peter Brooke. Since 1995, the National Trust has managed the house, preserving the specific environment created by its architect. It remains a significant example of the domestic modernist movement in the United Kingdom.
Modernist Architecture and Design
The structure is a reinforced concrete frame faced with red brick, a design that emerged from a period of intense debate regarding the character of the neighborhood. Completed in 1939, the house was one of the first Modernist buildings acquired by the National Trust. Its Grade II* listed status reflects the significance of its form and the precision of its execution. Inside, the spatial logic is defined by a central partition wall designed to concertina to the side, allowing the living space to expand or contract according to the needs of the moment.
The interior functions as a Gesamtkunstwerk in miniature, where the architecture, bespoke furniture, and fittings are conceived as a single, unified environment. Every detail, from the functional proportions of the built-in cabinetry to the structural elements, reflects a commitment to rational modernism. A notable feature is the spiral staircase, which was engineered by Ove Arup, contributing to the house's fluid and purposeful interiority.
Art Collection and Social Hub
The interior of the house functions as a record of a specific moment in British cultural life. During the mid-century period, the residence acted as a social hub for the artistic and left-wing circles of Hampstead. These gatherings brought together a community of thinkers and creators within the domestic sphere. The atmosphere of the home was shaped by the presence of these figures, making the space an active participant in the intellectual life of the neighborhood.
The art collection held here reflects the personal taste and the friendships of the Goldfingers. The works present in the rooms are not merely decorations but are integrated into the living environment. The collection includes pieces by Barbara Hepworth, Henry Moore, Max Ernst, Marcel Duchamp, and Bridget Riley. These presences inhabit the space alongside the bespoke furniture and architectural details, creating a cohesive environment where art and daily life are inseparable.
