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Original
Room
Amber Fields
Product ID: MhatreVinay_202505_04_001_2020
₹ 39,200
Inclusive of 5%
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| Size | : 20" x 20" |
| Medium | : Acrylic |
| Surface | : Canvas |
| Frame | : Included in the price |
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View Refund PolicyAmber Fields
Amber Fields is a 20" x 20" acrylic original by artist Vinay Mhatre, given almost entirely to a single wide plane of warm mustard-ochre paint, worked in slightly varied tones so the field never sits entirely flat despite its scale.
A thin, textured band runs along the top edge in darker olive-brown, and it's here that the painting's only real incident happens: a small, roughly sketched cluster of triangular rooftops, a pale vertical marker, and a scatter of tiny colored dashes standing in for a distant village pressed right up against the horizon line.
Below that band, the ochre field takes over completely, broken only by a faint rectangular shadow near the center and a rough, vertically worked strip on the right where Mhatre has scraped and layered the paint into a coarser, almost woven texture, distinct from the smoother field around it.
That contrast between the flat, saturated color and the roughened vertical strip is the quiet structural idea running through the piece: a wide, settled expanse against one small patch where the paint itself won't lie still.
Mhatre keeps the palette almost monochromatic, letting small temperature shifts within the yellow do the work that a wider color range would normally carry, an approach that asks the viewer to look for tonal variation rather than color contrast.
This is a hand-painted acrylic original on canvas, not a reproduction. The textured passages, especially the worked strip on the right, carry real dimension that shifts under changing light through the day. Mhatre builds his fields in layered, dry-brushed passes rather than a single flat wash, a process that leaves the ochre with visible depth even where the color reads as uniform from across a room.
Amber Fields sits alongside pieces like The Quiet Column in Mhatre's Guest Artist collection, sharing his recurring interest in reducing a landscape to a few large planes and one small, precise passage of incident. Its square format and warm, saturated field suit a dining room, study, or hallway where a single strong color note can anchor the space.
The distant rooftop line is easy to miss at first glance, and finding it is really the point — a whole settlement reduced to a few marks along the edge of an otherwise empty field.
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