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Magazine
Artists in the limelight
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The book under review looks at the work of artistes of pre-Independence India, hitherto neglected.
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THOUGH the works of western artistes operating in India during the British period such as Daniells and Solvyns have been studied, the work of Indian artistes of pre-Independence India has not received much attention from scholars and critics. The exhibition titled "Poetry and Patriotic Fervour" held in Delhi in April showcased the works of Indian artistes of the period including Jamini Roy, Ravi Varma and the Tagores. Among them it is Nandalal Bose who gets the maximum exposure. The book under review was brought out as a companion volume to the show.
The 19th Century marked a watershed in the art history of India. Modernity was emerging and western techniques and aesthetics were affecting Indian artistes. Art schools were set up in Presidency capitals. Through print technology, Indian artists were able to see the works of their European counterparts. Under this new influence, they began to look at their own heritage differently. The author Gayatri Sunhat points out that in their quest for national identity in Indian art, these artists turned to historical subjects. The section on each artiste also introduces the reader to different schools of paintings such as Kalighat, Company school and the Bengal renaissance school.
The profile of each artiste has been chiselled minutely, based on sound research. Various influences on each have been traced and the choice of paintings featured in the book is appropriate and demonstrates the expression of these influences. Japanese influence on Asit Kumar Haldar is evidenced by "the Profile of a Man" complete with a round, red seal. "Passing of Shajahan" exemplifies the effect of Pahari and Mughal miniatures on Abanidranath Tagore. It is interesting to see that there were artistes who recognised the potential of cinema as a new art form and tried their hand at it. Baburao Painter, whose painting is featured here, was one such and produced films in the silent era. In fact it was he who introduced V. Shantaram to films. Most of the 40 artistes featured here did not have any formal training in art.
The strong point of the book is the impressive manner in which Ashish Dhir has designed it. The book is a delight to handle and behold. The essence of the exhibition has been skilfully encapsulated between the 97 pages of the book. The layout of each page draws the reader's attention to the main figures depicted. The colour reproductions are of a high order and the fonts chosen are easy on the eyes. The material is organised in a reader-friendly manner facilitating easy reference. In short, this work demonstrates what book designing is all about.
The work covered is pre-Independence all right. But it is a bit far-fetched to relate the work of all these artistes to the nationalist movement and label them as an expression of "patriotic fervour". The attempt of the writer to do this appears contrived. A work of art stands on it own merit and does not need ideological props such as patriotism.
Most of the artistes brought together in this show are from Bengal, perpetuating the theory that the venue of Indian renaissance was mainly Bengal. Unfortunately for some art historians the South continues to remain a "benighted province". The show ought to contain the works of K.C.S. Panikkar, G.D. Paulraj and Dhanapal who were the contemporaries of a number of artistes featured in this book. What about the origins of the Madras school, which has been documented by Josef James? The editor says in his introduction that their next exhibition will be on post-Independence India. I hope it will truly represent India.
S. THEODORE BASKARAN
Poetry and Patriotic Fervour: Indian Art Pre-Independence, Gayatri Sinha, Delhi Art Gallery, paperback with colour plates, p.96. price not stated.
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