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Ganesh Haloi, a renowned artist known for his unique approach to mapping terrains through his art, has captivated audiences with his distinctive style. Born in 1936, Haloi's early life was marked by tragedy and displacement, yet his art remains a testament to resilience and creativity. Haloi's journey as an artist was shaped by his experiences, from documenting the cave paintings of Ajanta to teaching at the Government College of Art and Crafts in Calcutta. His work reflects a deep connection to nature, with intricate patterns and vibrant colors evoking a sense of harmony and fluidity. Through his use of gouache, watercolor, and tempera, Haloi creates compositions that blur the lines between form and formlessness, opacity and transparency. His paintings are like visual poems, inviting viewers to contemplate the interplay of space and emotion. In Haloi's hands, the landscape becomes a canvas for exploration, a palimpsest of memories and experiences. His art is a reflection of the ever-changing world around us, capturing the essence of transformation and transience. As we delve into the world of Ganesh Haloi's art, we are reminded of the power of creativity to transcend boundaries and connect us to the beauty of the natural world. His work invites us to see the world through a different lens, to appreciate the intricate dance of shapes and colors that define our surroundings. In a world where boundaries are constantly shifting and landscapes are ever-evolving, Ganesh Haloi's art serves as a beacon of inspiration and reflection. Through his unique vision and artistic talent, he invites us to map our own terrains, to explore the depths of our imagination and creativity. Vinayak Pasricha.

Gopal Ghose was a visionary artist who revolutionized the modern art movement in India with his unique style and approach to painting. His landscapes are a beautiful blend of Western techniques and Indian sensibilities, capturing the essence of rural life with a deep emotional intensity. Ghose's paintings, executed in watercolor, pastel, and mixed mediums, showcase his mastery of light, shade, and perspective. His works reflect a deep connection to the Indian rural scene, portraying the beauty and simplicity of everyday life in the villages. Through his art, Ghose expressed his personal vision and deep reverence for his native land. His landscapes, charged with dynamic energy and emotional intensity, are a testament to his artistic insight and ability to reinvent the Indian idiom through his unique interpretation of nature. Gopal Ghose's paintings stand as a paragon of Indian modern art, embodying a timeless quest for universal harmony and a profound appreciation for the beauty of the natural world. In the hands of Ghose, landscape painting becomes more than just a visual representation of nature – it becomes a cultural analogy, a philosophical reflection, and a profound statement on man's relationship with the environment. His works continue to inspire and resonate with viewers, inviting them to see the world through the eyes of a true artistic genius. Vinayak Pasricha.

Shyamal Dutta Ray: Watercolour Maestro Shyamal Dutta Ray, born in Ranchi in 1934, was a prominent figure in the world of Indian art. His early years spent in Mymensingh and Calcutta left a lasting impact on his artistic mind. Ray's journey as an artist began at a young age, and he honed his skills at the Government College of Art and Crafts in Calcutta. Ray's unique contribution to the art world was his elevation of watercolour as a serious and profound medium for expression. Inspired by the works of great artists like J.M.W. Turner, Ray developed his own distinctive style that captured the essence of realism and dreams in his paintings. Throughout his career spanning 45 years, Ray experimented with various themes and techniques, always pushing the boundaries of what watercolour could achieve. His work reflected the social realities of his time, showcasing a deep understanding of the human condition. In 1997, Ray's artistic journey took him abroad, where he found inspiration in the works of Turner and other European artists. This experience fueled his creativity and passion for his craft. Sadly, Shyamal Dutta Ray passed away in 1999, leaving behind a legacy of innovation and creativity in the world of watercolour painting. His efforts to elevate watercolour to a significant position in Indian art history have solidified his place as a true maestro in the field. Ray's work continues to inspire and captivate art enthusiasts around the world, reminding us of the power of watercolour as a medium for profound expression and social commentary.

Jogen Chowdhury - A Man of All Seasons Artist, poet, and teacher, Jogen Chowdhury is a significant figure in the art world of post-Independence India. His unique style and dramatic treatment of human and derivative forms have earned him international acclaim. Born in East Bengal, Chowdhury migrated to Calcutta during the Partition and studied at the Government College of Art and Crafts. Despite being trained in the British Academic methods, he felt constrained by the lack of creativity and expression in the traditional teaching methods. After receiving a French Government Scholarship to study at the Ecole des Beaux-Arts in Paris, Chowdhury returned with a newfound appreciation for different artistic traditions. He developed a style of cross-hatching to create his signature amorphous forms, depicting themes of dislocation and loss. Chowdhury's works are characterized by their stillness and tension, with a primordial quality that evokes narratives of domesticity and psychological realities. His art has been showcased in international exhibitions and biennales, making him a widely recognized and collected artist in India and abroad. With a vast body of work in various mediums, including ink, pastels, and serigraphs, Jogen Chowdhury continues to captivate viewers with his unique artistic vision.

The Majumdar Siblings: A Legacy of Creativity and Innovation The Majumdar siblings, Kamal Kumar Majumdar, Nirode Mazumdar, and Shanu Lahiri, were a trio of artistic geniuses who left an indelible mark on the cultural landscape of Calcutta. Born into a family that valued creativity and excellence, each sibling pursued their passion with unwavering dedication and talent. Kamal Kumar Majumdar, known for his radical prose style and erudite writing, was also a skilled painter and woodcut artist. His ability to break traditional norms and blend new ideologies with age-old traditions set him apart as a literary enigma. Nirode Mazumdar, a founding member of 'The Calcutta Group,' was a pioneer of modernist painting in India. Trained in the Bengal School Style, he later delved into European modernism, blending it seamlessly with his cultural heritage. His work, rooted in the traditions of Bengal, explored Tantric themes and symbolism, creating a unique and captivating artistic language. Shanu Lahiri, a first-generation modernist, was a visual artist, poet, and educator who pushed boundaries and challenged norms. Her commitment to public art projects and her activist inclinations made her a prominent figure in Calcutta's artistic community. She remained a voice of conscience, using her art to mobilize and inspire change. Together, the Majumdar siblings embodied the spirit of creativity, innovation, and resilience. Their work reflects the socio-political and cultural milestones of pre and post-colonial India, offering a glimpse into the transformative power of art and literature in times of upheaval. The legacy of the Majumdar siblings continues to inspire and captivate audiences, reminding us of the enduring impact of creativity and passion in shaping our world.

Krishen Khanna: Last Man Standing In July 2022, Krishen Khanna turned 97. A member of the pathbreaking Progressive Artist Group, a collective that aimed to give a new meaning and direction to Indian Art. Khanna was inducted into the avant-garde movement by his friends and fellow modernist ideologues- F.N.Souza, M.F.Husain, Tyeb Mehta, H.A.Gade and K.H.Ara. He is indeed an artist along with the others of the group who translated contemporary historical happenings as these touched the common man’s life. And Krishen Khanna has done that with a keen sense of the political implications involved therein. Born in 1925 in Lyallpur, now Faisalabad in Pakistan, Khanna’s life is marked by all the turns and twists of the Indian sub-continent, as it was historically played out, during the gathering of the Indian Nationalist Movement. Krishen Khanna saw it all-the freedom struggle of the colonized Indians and through the tragic tumultuous partition of a nation split into two. Going to the time of undivided India, Krishen Khanna had attended the evening classes at the Mayo School of Art in Lahore, now National College of Art. Here was the happening art scene, which was getting increasingly knotted with the growing political nationalist uprising. Lahore was also the city where Bhabesh Sanyal and Amrita Sher-Gil among others had lived and worked. Khanna later graduated from the Imperial Service College in Windsor, England in 1940. After arriving in India, he took up a post with Grindlays Bank and was placed in Bombay. It was here in Bombay where Khanna encountered the artists of the group. Narrating his days in Bombay and his association with the PAG, Krishen Khanna has numerous memories. His most fond memories are those that concern Husain. He recalls how Husain, and his family spent their early years in Bombay in a small enclave called Badar Bagh. It was a single room in which they lived, and Husain made just enough space to work, allowing him to paint only small canvases. However, his output soon grew the space he had, and his canvases were to grow larger and larger. Many of these were brought by Husain to Krishen Khanna’s house for storage. As was the practice amongst the PAG artists, they bought each other’s work as well. Krishen, after joining the group, enjoyed their circle, who were encouraged by the members, especially Husain to buy Khanna’s work. The humour, with which Khanna recalls his bank job of thirteen and a half years, is indeed extraordinarily his very own brand: “I didn’t play golf or go yachting” so by the time he quit it, to paint full time, he was to set in his austere ways to affect any change. He further elaborates it and connects it with Husain, “he made me a member of the Group and in exchange I opened his first bank account,” and finally “through a series of happy coincidences, I got a show at London’s prestigious Leicester Gallery.” His works from this period were deeply embedded with the images of the tumultuous historical events that touched his early life and their related poignancy. While he formulated a representational language that captured with force a certain vitality of historic narrative while retaining immediacy, this has become his trademark. Krishen Khanna is that an artist, who may appear to be demolishing the neatly held values of line, form, and colour and by a much deliberate act constructing a new order of sustaining values, thoughts, sensibilities that are both progressive and modern. Khanna evokes his chosen protagonists in a few judicious strokes: they carry their histories in the wrinkles of their faces, the folds of their robes. Khanna remains occupied and committed with the relationship of labour to oppression on the one hand, and to grace on the other. His paintings and drawings emerge as nuanced narratives in which the artist plays out his formal concerns, as well as the shifting and unfolding theatre of human relationships. Vinayak Pasricha.

The Babu Culture: Through Lalu Prasad Shaw Lean and dressed in white, you could easily mistake Lalu Prasad Shaw for someone’s grandfather- warm, affectionate, and full of wisdom. Much before his training at the prestigious Government College of Art & Craft, Calcutta, Shaw as a child sat silently in wonder and amazement as he watched his mother make alpona patterns on the floor of their modest house in Siuri, Birbhum. These formative and preparatory years were spent emulating his creative mother who instilled in him a love for drawing. Near to his house, was the place where the Malakars (rural craftsmen) worked. They made the idols of the gods and the patas that were to be placed behind the idols. The young Lalu took an instant liking to their work and an ambition grew in the young aesthete to be an artist. What Shaw learned, in the process of recreating the chalachitra patterns embellishing the idols created by the folk artisans, as well as the floral designs integrated into the body of more elaborate adumbrations, was quiet strength and delicacy of his unpretentious paintings and prints that he studied eventually as a regular student at Calcutta’s art college. Shaw’s first art teacher was Pinakinath Bhattacharya who taught art at the local school. In those days, the young Lalu was passionate about art, but never imagined about converting it into a profession. He was also reading Bengali magazines like Prabasi, Basumati and Modern Review. Shaw started by copying those works printed in the magazines and as a result he was training himself to be an artist. In 1953, when Shaw was of age, he was admitted first into the Indian College of Art and Draftsmanship, Calcutta. However, in a few months he left and got admitted into The Government College of Art and Craft, Calcutta in 1954. It was in the art college that Shaw learnt the difference between an artistic mind and a machine. He could not abide by the fixed technicalities. At the art college, Ajit Gupta was his favorite teacher in his first year. He often visited his house on Sundays to learn the techniques of tempera. Even today when Shaw works with tempera, the influences of Ajit Gupta on his style are evident. In his second year, Shaw studied under the legendary Gopal Ghose, Rathin Maitra, Anil Bhattacharya and Maniklal Bandopadhyay. Like most artists of his generation, Shaw was acquainted with the Impressionists and Post-Impressionists during his college days. However, he wished to come out of the training he received from the art college. He started practicing with abstracts and broke himself free of forms. In the 60’s Shaw was experimenting on how to retain the two-dimensionality of a picture. In 1967 he joined The Society of Contemporary Artists Group. Here Sanat Kar introduced him to graphic prints for the first time. Suhas Roy, who had just returned from Paris, taught Shaw the techniques of etching. In the process Shaw dedicated himself to printmaking between 1966-1973. At the same time, he joined his Alma Mater as a teacher under Satyen Ghoshal. Later, he joined Kala Bhavan, where he took up lithography and tempera painting seriously. It was during his stay at Santiniketan, Shaw felt an urge to revert to tempera and wash paintings even while he was pursuing printmaking. Since 1983, Shaw devoted himself entirely to tempera. While teaching in Kala Bhavan, he found his students copying from the Lucknow Birds series. These were miniatures from the regional Mughal style. These influenced Shaw. Soon he began drawing birds and capturing their movements. True in many of his works, the surfaces remained crowded with sunflowers and other bright flowers. These works remain highly decorative. To improvise on it, he added a border, reminding one of the Mughal miniatures. He also acknowledges the influence of the Kalighat Patas who fascinated him. The depiction of the Babu culture fascinated him. He often picked up such traditional subject matter and treated them with a touch of contemporary elements. These themes got extended to Babu and Bibis of 2005. Shaw has always believed in straightforward subjects portrayed in a strictly two-dimensional style. His popular Babu series has men and women of urban Calcutta engaged in feudal-style leisurely activities. Creating an ambiance of harmony, his works may be traced back to the Kalighat patas. Consequently, mere geometric shapes and forms of his earlier days gave way to flexibility and a kind of mute drama. This influence was also to be reinforced by his love for Far-Eastern art at Kala Bhavan. For Lalu Prasad Shaw, the journey continues. Vinayak Pasricha.

George Wesley Bellows was an American realist painter, known for his bold depiction of urban America in the early 20th century. His paintings captured the raw realities of working-class people and neighborhoods, shedding light on the struggles and desires of the average American. Bellows' New York scenes under snowfall showcased a stark contrast between the pristine snow and the rough city structures, reflecting the juxtaposition of beauty and grit in urban life. Bellows' works, such as "Stag at Sharkey's" and "Forty-two Kids," delved into the unseen aspects of American society, from illicit boxing matches to street urchins in Lower East Side tenements. Through his paintings, Bellows challenged the conservative art practices of the time, offering a genuine portrayal of the evolving American landscape. As we immerse ourselves in Bellows' paintings, we are transported to a world where the American dream intertwines with the harsh realities of daily life. His art captures the essence of a nation in transition, grappling with the pursuit of happiness amidst societal challenges. Bellows' legacy as an artist lies in his ability to depict the real of the American dream, showcasing the complexities and contradictions of urban America in the early 20th century.

Edward Hopper, a renowned American realist painter, has left a lasting impact on the art world with his iconic paintings such as 'Nighthawks' and 'Morning Sun'. The virtual images created by his paintings have a performative engagement with the audience, introducing the 'screen' as a medium to evoke desire - a technique reminiscent of cinema. In 'Nighthawks', the subjects in the diner are viewed through a glass window, acting as a cinematic screen that separates the audience from the characters. The lack of distinct identity allows viewers to dive into their own imagination, creating a fantasy surrounding the characters' predicament. Similarly, in 'Morning Sun', the woman's contemplative gaze out the window triggers a sense of longing and desire in the viewer. Hopper's use of windows as 'screens' in his paintings creates a sense of hidden objects that are never fully revealed. This ambiguity sparks the viewer's imagination, leading to a dialogue between the virtual Hopper and the audience. The desires of the subjects in his paintings become the viewers' own desires, blurring the line between reality and fantasy. In the post-modern age of subjectivity, Hopper's realism feels less representational and more inter-subjective and cinematic. The phantasmatic effects of his paintings make them all too un-real, inviting viewers to immerse themselves in the world of Hopper's imagination. The impact of Hopper's paintings goes beyond the canvas, as seen in the exhibition at the Virginia Museum of Fine Arts where guests could experience staying in a room inspired by 'Western Motel'. The allure of Hopper's paintings lies in their ability to transport viewers into a world of desire and longing, making them a timeless source of fascination. References: - Filip Lipiński. “The Virtual Hopper: Painting Between Dissemination and Desire” Oxford Art Journal, 2014 - Katie White. “This Edward Hopper Painting Has Been Called One of the ‘Ultimate Images of Summer’”, July 21, 2020 - Matt Backer. “Edward Hopper:

Benode Behari Mukherjee’s papercuts Lately, I have been looking at works by the two masters - the French artist Henri Matisse who is celebrated in the West for his use of colors, and his fluid and original draftsmanship, and Binod Bihari Mukherjee who was one of the pioneers of Indian modern art and a key figure of the Shantiniketan school, known for his expressionist outlook of nature portrayed in a style inspired from the far-east. Looking at their life-long collections of outstanding work, I see a strange resemblance between Matisse and Binod Bihari's later years of personal occurrences and creative ventures. Let's talk about Matisse first. Towards the end of his life, Matisse became wheelchair-bound due to a physical illness and lost the ability to work on canvases. It made him leave the canvas and choose a new technique - white papers, gouache paint, and scissors. He painted the white papers with vibrant gouache colors and cut different shapes from them. These papercuts developed into a series of mixed media works which were quite different from traditional painting. Matisse would cut out designs of his choice from colored paper, just like a child, and his assistants would decorate the designs on the walls of the studio according to his directions. As if a child is at play; with his indomitable desire to speak, he is bringing his dreams into the external world. A child Matisse reveals himself through his playful works of papercuts. Benode Mukherjee was born with a severe eye problem. Despite being myopic in one eye and blind in the other, yet he continued to paint and do murals until he lost his eyesight completely following an unsuccessful eye cataract operation in 1956. Benode was completely heartbroken and fell into depression. Pushpa, the wife of Dinkar Kaushik, who was also an artist, encouraged Binod Bihari to create paper-cuttings and assisted him in composing the artworks. Beautiful collages were born out of this unique collaboration between the two. Later, Binod Bihari lovingly presented these works to Pushpa. Both masters had become physically disabled in their later years which made an enormous impact on their creative expeditions. I see no way but to look at these papercuts and get reminded of the little ones. It is as if memories from their childhood have emerged as beautiful images. Or, they have become children again. No pulling of skilled strokes with paintbrush, no trace of rigorously trained expression techniques, there is only an impression of genuine creative joy and artistic sensibility. The works of both artists are a conjunction of drawing and sculpting in color using the edge of the paper to represent both the contour and volume of forms. Benode Bihari Mukherjee who was inspired by the open-air classrooms of Shantiniketan, identified strongly with the spiritual essence in the paintings of the Far-east in contrast to the mechanical western style of art and saw nature as his true muse. Like most of his contemporaries, and even more, he catered to Pan-Asianism and began studying their scroll format to understand its unique techniques to control perspectives, objects, and space. Trained in the cosmopolitan environment of Shantiniketan, he was much familiar with his contemporary European art movements, and knew of Matisse’s cut-out paper works, which Matisse made from 1948 onwards. He used vibrant color papers and newspapers, cutting, folding, and shaping them with his tactile sense into playful rhythmic forms. The images formed were figurative yet abstract, the forms pared down to their basics. Immersed in a world of darkness, quite paradoxically his creativity suddenly found expression in a burst of color. Benode Behari had once written, on the verge of despair: “... where there is light there is color.” Through innovation, the artist proved otherwise. He made his blindness a tool - a portal to a new dimension of visual perception, a new feeling, a new experience, a new state of being. Benode Behari detached himself from the Swadeshi and the mythological themes of the Bengal school in Calcutta and explored his love for nature and Far-east aesthetics to establish an expressionist modern look of Indian art. When criticized by a friend for his position in the independence movement, he referred to his detachment by stating, “My objectives have always been around an artist’s ultimate's -- have sought to know myself, and in the process unfold it to others, never forgetting that I am just one amongst the many.” He was not a self-proclaimed expressionist but his projection of his feelings and perceptions of the world inevitably placed his name in the history of Indian art as one of the lists eminent modern expressionists. In Stella Kramrisch’s words his ‘impersonal pathos’ was incredibly obvious in his paintings. We find traces of his expressionist tendencies and interpersonal relationship with art in his own words: “Art grows out of the emotional impulses diverse sensations of shape and gesture generate in us, this bright and colorful world. Art expression moves from emotional impulse to mood, from mood to aesthetic beauty. An artist’s creation cannot attain its full stature until it brings into barking his experience of reality and his mind’s emotional bias.