Shankerbhai Patel
Friend of Bhupen, wearing dark glasses

Artist Bhupen Khakhar (1934 – 2003)

dated 1970, Serigraph on paper
18.7 x 14 in. (47.5 x 35.6 cm.)

Shankerbhai, a close companion of Bhupen Khakhar, spent many years living in Africa before eventually settling in Vadodara. After the loss of his wife and daughter and with his children settled in England, he lived alone through the 1970s and ’80s. It was during a common social function that Bhupen and Shankerbhai reconnected, and a deep friendship developed between them. Bhupen, though not openly declaring his homosexuality during that period, formed a strong emotional bond with Shankerbhai. He was a constant support, especially during Shankerbhai’s cataract and glaucoma treatments, personally caring for him throughout the process.

Shankerbhai, always seen in dark glasses, became a recurring subject in Bhupen’s work. His distinctive presence, with sunglasses and understated dignity, appears in many of Bhupen’s paintings— including the iconic work Shankerbhai Near Red Fort. Through these portraits, Bhupen not only captured the quiet resilience of his friend but also coded their companionship and care in an era when such relationships could not be openly expressed. The image is one such affectionate rendering, in this limited edition serigraph, marked by Bhupen’s bold use of color and flat form, reflecting both personal warmth and formal experimentation.

Another striking portrait by Bhupen Khakhar, dated 7th August 1997, captures one of his close gay friends dressed in a vividly striped shirt. The work reflects Bhupen’s evolving artistic and personal journey after his return from London in 1979, where he had held a widely acclaimed exhibition. The 1980s marked a turning point in his life following the death of his mother. He began openly expressing his homosexuality, both in life and through art.

This watercolour, with its translucent washes and emotionally charged hues, belongs to a period where Bhupen embraced themes of male intimacy and companionship with honesty and sensitivity. The figure’s sunglasses, reminiscent of Vallabhbhai’s signature look, and the expressive posture evoke a quiet dignity.

The painting titled It’s Coming, also subtly hints at erotic undertones, visible in the symbolic gesture with the hoselike form—an allusion to desire, play, and coded sexuality.

During this time, Bhupen created several works like Two Men in Benares and You Can’t Please All, where same-sex relationships became central to his visual language. He did portrait many of his friends like Shankerbhai, Ranchodbhai, Hirabhai, and Vallabhbhai, embedding their likenesses into his world of intimate storytelling. This portrait is both personal and political, boldly affirming queer identity in Indian contemporary art.

This intimate pencil sketch by Bhupen, dated “Diwali Day 92,” offers a rare glimpse into his personal reflections. Likely drawn while studying his own portrait, it captures his quiet introspection. The soft graphite work shows Bhupen wearing his signature glasses, with delicate shading and rubbed textures adding depth to the composition. Even in this small, casual study, there’s a sensitivity in the rendering—revealing his careful observation and emotional tone. The handwritten note anchors it in a specific moment. This makes it both a personal memory and a meditative artistic gesture, echoing his larger practice of deeply autobiographical portraiture.