Mirza Matloob Baig is another landscape painter who belongs to the legacy of Khalid Iqbal's landscape school where light plays a vital role in the rendering of a certain ambiance through colours.
Landscape painting is a formidable genre as precision, accuracy, depth and swirling forms are challenges for an artist, that make him embezzled in attaining the desired results.
Matloob has accepted this painting style as a challenge by implying a combination of all necessary features that are pivotal in obtaining accurate and impressive results connected to this genre.
The detailed foreground has always been captivating in his frames along with textured canvases and in-depth details.
These elements create a visual balance in his paintings that has become an expression of skill, observation and convolution; the artist may have exploited to the full extent by unveiling his adroit and precious possessions through his brush.
Matloob Baig is a greenhorn in this genre who started painting landscapes almost a decade ago.
He loves to observe the feel and atmosphere of the place that he wants to pant even before actually painting it.
He is of the view that "observation on the spot can make you realize the actual atmosphere and colours of a specific place which affect your emotions and sentiments.
" Matloob, not only concentrated on the foregrounds in his generously vivid landscapes in inspiration of Zulqarnain Haider, but also, in few of his frames, adorned backgrounds and upper portions of the canvas where one could find him divinely inspired by the legendary Khalid Iqbal.
There are shades of western influence as well in Matloob's work.
Reflections and "Water Lilies" are the subjects that Matloob has recently painted in remembrance of his favourite Impressionist; Claude Monet whom he calls his spiritual teacher.
Matloob likes to spend time at the spot that he wants to paint.
He sits there for hours and hours to absorb the feel of the surroundings and the mood of the ambiance.
By doing this, Matloob visualizes his perceived painting.
He reckons that visualization actually makes his frames his signature paintings and different from an on-spot photograph.
Individualism comes with original visualization of the painting no matter it is a landscape, a figure composition or even a still life.
This aspect actually helps Matloob to compose his landscapes in a balanced way and gives him confidence to concentrate on a Sumble tree rather than an electricity pole, though both would be present at the same spot.
Matloob defines his landscape as a combination of skill, emotion, visualization and inspiration; all these factors force him to be experimental in his approach and with his palette.
Matloob, in most of his landscapes, takes the best advantage of the oil color technique, though acrylics have also proven result-oriented for him; however, his experimental work in dry pastels is not less than anything when he applies them for detailing the birds.
He uses these birds to add balance in his frames, especially the anatomically mastered grayish-blue pigeons.
It reveals the skill and the concentration of the artist that he exercises while capturing the fluttering birds.
Over the recent years, Mirza Matloob Baig, nevertheless, has been successful in presenting a panorama of beautifully arranged and skillfully painted canvases in oil color, acrylics and watercolour.
However, conceptuality and emotional value are what the artist is looking forward to adding in his frames gradually.
In a recent show at Gallery 6, Matloob put on display an array of paintings that he completed at a stretch while staying at a beautiful village Jandali.
This exhibition presented the colours of November, the colours of freezing cold and the shades of serene skies.
In this particular series of paintings, Matloob seems to feel the warmth of nature.
Changing seasons and the shimmering sun-light, the romance and the playfulness of the clouds floating over the green silhouette created by mountains, and the pavements and passages that may take the viewer to the mysteries of the fairyland-like places, are the significant features of these paintings.
These canvases advocate the same doctrine which, William Wordsworth advocated through the shades of his poetry.
Although these paintings are monotonous in style and application, but these frames have a captivating quality to hold the onlookers eye.
The painter has, very skillfully, painted the simple atmosphere and surroundings, in a very simple way.
Landscape painting is a formidable genre as precision, accuracy, depth and swirling forms are challenges for an artist, that make him embezzled in attaining the desired results.
Matloob has accepted this painting style as a challenge by implying a combination of all necessary features that are pivotal in obtaining accurate and impressive results connected to this genre.
The detailed foreground has always been captivating in his frames along with textured canvases and in-depth details.
These elements create a visual balance in his paintings that has become an expression of skill, observation and convolution; the artist may have exploited to the full extent by unveiling his adroit and precious possessions through his brush.
Matloob Baig is a greenhorn in this genre who started painting landscapes almost a decade ago.
He loves to observe the feel and atmosphere of the place that he wants to pant even before actually painting it.
He is of the view that "observation on the spot can make you realize the actual atmosphere and colours of a specific place which affect your emotions and sentiments.
" Matloob, not only concentrated on the foregrounds in his generously vivid landscapes in inspiration of Zulqarnain Haider, but also, in few of his frames, adorned backgrounds and upper portions of the canvas where one could find him divinely inspired by the legendary Khalid Iqbal.
There are shades of western influence as well in Matloob's work.
Reflections and "Water Lilies" are the subjects that Matloob has recently painted in remembrance of his favourite Impressionist; Claude Monet whom he calls his spiritual teacher.
Matloob likes to spend time at the spot that he wants to paint.
He sits there for hours and hours to absorb the feel of the surroundings and the mood of the ambiance.
By doing this, Matloob visualizes his perceived painting.
He reckons that visualization actually makes his frames his signature paintings and different from an on-spot photograph.
Individualism comes with original visualization of the painting no matter it is a landscape, a figure composition or even a still life.
This aspect actually helps Matloob to compose his landscapes in a balanced way and gives him confidence to concentrate on a Sumble tree rather than an electricity pole, though both would be present at the same spot.
Matloob defines his landscape as a combination of skill, emotion, visualization and inspiration; all these factors force him to be experimental in his approach and with his palette.
Matloob, in most of his landscapes, takes the best advantage of the oil color technique, though acrylics have also proven result-oriented for him; however, his experimental work in dry pastels is not less than anything when he applies them for detailing the birds.
He uses these birds to add balance in his frames, especially the anatomically mastered grayish-blue pigeons.
It reveals the skill and the concentration of the artist that he exercises while capturing the fluttering birds.
Over the recent years, Mirza Matloob Baig, nevertheless, has been successful in presenting a panorama of beautifully arranged and skillfully painted canvases in oil color, acrylics and watercolour.
However, conceptuality and emotional value are what the artist is looking forward to adding in his frames gradually.
In a recent show at Gallery 6, Matloob put on display an array of paintings that he completed at a stretch while staying at a beautiful village Jandali.
This exhibition presented the colours of November, the colours of freezing cold and the shades of serene skies.
In this particular series of paintings, Matloob seems to feel the warmth of nature.
Changing seasons and the shimmering sun-light, the romance and the playfulness of the clouds floating over the green silhouette created by mountains, and the pavements and passages that may take the viewer to the mysteries of the fairyland-like places, are the significant features of these paintings.
These canvases advocate the same doctrine which, William Wordsworth advocated through the shades of his poetry.
Although these paintings are monotonous in style and application, but these frames have a captivating quality to hold the onlookers eye.
The painter has, very skillfully, painted the simple atmosphere and surroundings, in a very simple way.
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