Ram Kumar shared with his other contemporaries, in Delhi Shilpi Chakra and Bombay Progressive Group in 1950s, the dream of working in an art language that would be as comprehensible in London or Paris as in Delhi. He left for Paris in and studied painting under Andre Lhote and Fernand Leger. The human condition is the main concern of the painter manifested in his early works by the alienated individual within the city, from the city as well as from himself. In the transitory period, the lines gave way to sweeping strokes of blue and golden yellow lending buoyancy to the painting. In the early 1960s Ram Kumar took to abstract painting after a pivotal journey to Banaras and never returned to figural painting since then. Since 1960 his paintings have opened out in sweeps of ochre, viridian and aquamarine, as he mounted his contemplations of the cosmic cycle of creation, dissolution and regeneration. In his paintings of last two decades, a residual geography and a notational architecture have crept into his landscapes. Ram Kumar’s landscapes often straddle the boundaries between abstraction and naturalism, quoting both but succumbing to neither. With a cool palette of aquas, blues, grays, and tawny yellows, his prime motifs oscillate between the numerous visitations to he made to Banaras and the open vistas that are in essence painterly vestiges of his life’s journey. By banishing the figure he was able to emphasize the nullification of humanity, and to deploy architecture and landscape as metaphors articulating cultural and psychological fragmentation. He translates the landscape in to a system of line, planes, blocks; their machine-edged logic, entering into dialogue with texture and tone, governs the distribution of significant masses over the picture space. One can see old gold and russet as the prime pallet with hints of blue, a yellow that verges on moss and a white light. The horizontal, hard, straight line is most intrinsic to Ram Kumar. He states his art is about the rediscovery of elemental origins within the lingua franca of the landscape, the translation and storage of essential energies, the spiritual properties of meditative melancholia.