Garba

Born on January 2,1959, If words could have been painted instead of, being written that could have been a better phenomenon while commenting on Subrata Gangopadhyay’s ouvres des arts. Perhaps, like all masters, Subrata is an artist-born, not made. In his 47-year career Subrata made a clear imprint both of communications industry, particularly in Press and Publication and later the orbit of contemporary painting; Subrata first came into view in 1985 with his solo Exhibition of Drawing and paintings, at the Birla Academy of Art and Culture, Calcutta and the style were instantly distinguishable from the conventional images of the period. In his works, the poetic sequences with its reliance on visuals instead of dialogue, represented Subrata at its best. Instead of reductionism, the Subrata’s desperately blatant detailed additivism left a permanent mark on the minds of art-lovers of Kolkata – and which still run rampant today. Greeted by the doyen Satyajit Ray himself, Subrata’s magnificience in dramatization of Characters, was a right recognition. Gangopadhyay’s enormous Painting depicting long lost Bengal glories and realities are still preserved in the Banquet Hall, Bengal Club, Kolkata Subrata was prestigiously offered to execute a few full bust of great Indian personalities from the Government bodies /Museums which may be found in the Victoria Memorial Kolkata Blessed with a rare capacity to depict this visible world, own surroundings, people and their living everywhere,palace to palanquin, dust to Shelter, the earth to heaven. Subrata creates and recreates new essences, love and solaces through his work for any viewer. In his paintings, Women are sometimes like lotuses in the evening lakes, often an unread beauty in the debris of mundane. A treasure on the sideways to eternity. The Nature surrenders to him whenever he takes up the brushes to paint his vision in renewed wrap and vibes and the visible world is taking rebirth in a significance of a true life surviving in the secret joy and the hidden bleeding.