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An ode to Mario Miranda: an artist who breathed magic and imagination into Goan’s life and landscape-art and culture

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The legendary artist Mario Miranda, born in 1926 to the present day, with his exceptional characters, both in human form – Miss Fonseca’s secretary, Minister Bundaldass and Bollywood star Rajani Nimbupani – and in animal form – canines, their families and much more, want to express the imagination and the world view of every human being. No matter how much attention he paid to the life around him, whether it was his life in Bombay, then Mumbai, now Mumbai, or his home in Goa, which he embodied in different ways through his work as a star over the years. So it’s wrong to just call him a cartoonist, he was an artist who spoke through his figures and paintings or simplified sketches of the church of Bom Jesus (Basilica of Bom Jesus) in ancient Goa or the church at night, which might remind art lovers of Van Gogh’s starry night (the view of the Paris Café and the scene of the Kyoto Temple are more popular).

How was Mario Miranda different from others in his day? Did he see the world as it was before his eyes? Or were they rather recognizable characters that he created for posterity to appreciate and perhaps criticise them for being too sexualized? One of her most popular heroines, Miss Fonseca, is an animated creation of a woman in an office a few years ago. I realize now that this may not be entirely acceptable to all my readers, but let me explain before I start the battle of words… Miss Fonseca is a modern woman who has to be seen from a different side, because she is a woman who shakes her shoulders with men in her workplace. In comparison, although neither deserves it, Miss Fonseca is the Indian version of Peggy Olson in Madmen – and both work in advertising for creative men. Miranda’s work is best known for her female figures, both Miss Fonseca and Miss Rajani Nimbupaani, who Amul also used in his work on the occasion of the artist’s death in 2011. On the second. In May 2016, Google Doodle cartoonist Aaron Rainier paid tribute to the exemplary work of Mario Miranda. The drawing shows a lively city with monochrome people and colourful umbrellas. During this year’s Goa Carnival in February (I saw Mapusa in the north of Goa and walked around), I also saw some of her characters walking to the parade and it was pure nostalgia.

I also talked about Mario Miranda with poet and media manager Pritish Nandi, because the duo has a long and close friendship. Mario Miranda was one of my best friends, and I think he was one of the best cartoonists ever made in India. His drawing skills were incredible, and when you see his exhibitions in different cities all over the world, especially in Goa, you understand the magical environment he can create through his art. I don’t see Mario as a pure cartoonist, and he never wanted to be known as an artist.

Her magazines with illustrations are in Habiba’s private collection (Mario Miranda’s wife and the artist himself), and she lent me some of them so I could read what I liked. They were written in another language (Portuguese) that I didn’t know, and what I didn’t understand, I asked him (Mario). I used his work wherever I could, because he was not only a cartoonist, but also one of the greatest artists of our time. Curious as to whether Nandy also has Mario Miranda’s favourite character, he said he loved them all.

But for me it’s not that it’s comparable, it’s usually the guitarist that worries me the most – he really explains Susegad without words. That’s what Suzgad is. You can feel it, and the music he plays on his guitar and sings a song while enjoying the bright shade of a palm tree on a carefree Goan night is why a painting, in this case a work of art, says a thousand words.

His working life:

Miranda worked as a cartoonist for newspapers such as the Now Disappeared Current, followed by the Illustrated Weekly of India, Miday and then the Economic Times. The Daytime Dispatch and Courier Service also produced some of his best work in Mumbai, where he lived and worked before returning to Goa.

In the 1990s, Rushi Yazdegardi, owner of the legendary Mondegar café in southern Mumbai, commissioned Miranda to paint a fresco on two walls of his restaurant, one depicting life in Mumbai and the other the atmosphere of a café, with characters having a meal in a café.

Mario has received several awards, including Padma Sri, Padma Bhushan and a Lifetime Award from the All India Cartoonists Association. He also received a Padma Wibhushan posthumously in 2012, a few months after his death in 2011 at the age of 85.

Mr Nandi has also shed some light on some of his works on display at Saffron Art, which have produced some pretty amazing characters that Mario couldn’t have imagined in his life.

He talks about Miranda’s life in Goa, which he resumed after leaving Bombay and which he still loved and missed even after his service, he says: He had the most beautiful house in Goa, he was a Portuguese king and had his own coat of arms, and he had some of the most charming dogs I have ever seen. When he was in Bombay, he had a turtle and a pet bird. He was an animal lover, and that’s what we have in common. I also brought Mario along as one of the co-founders when we set up the animal welfare organisation run by Maneka Gandhi.

Next Mario Miranda?

As they remain in quarantine at home, the sons of the late famous cartoonist Raoul and Risaad Miranda, and Gerard da Cunha, curator of the Galleria Mario, have organized an online art competition to help people make the most of their imprisonment and support the craftsman in his creative talents in seclusion as he searches for the next Mario Miranda from Goa. The race ended on the 30th. The winners will be announced in April. May announced.

Books:

The Mario Gallery and the Museum published Miranda’s diaries from 1949, which described her life as a student in Bombay (now Mumbai) at the age of 22. Over the years Miranda has published several books of her cartoons, including titles such as Laughter, Goa with Love, Germany in Winter and others.

His illustrations also include books by famous authors such as Dom Moraes (Journey to Goa), Manohar Malgaoncar (Within Goa), Mario Cabral and Sa (Legends of Goa) and Uma Anand (Magic Clay Horse, The Adventures of Puppy Pilla and Longtailed Langur).

His brand style in art:

From satire to humour at work (not too close to his cousin Dilbert?), from city life and the hustle and bustle of Bombay to the bustling streets and villages of Goa, his most popular works had a distinctive style like the seal of Mario Miranda.

On the one hand there were women with black hair, dull hair, in dresses or sarsar. Then there were the village bells dressed in skirts of light flowers or peas, and the fishermen who were traditionally dressed at the Goan market. Experienced men in evening coats shared the screen with some of these female figures.

Miranda’s work was a social commentary on his time, and he emphasized this enough. He does not regard his work as political commentary. On his 94th birthday. On his 50th birthday, he paid homage to one of the country’s most famous artists, who keeps ancient Bombay and Goa alive in the hearts of many people, wherever they are.

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