- The highly
popular folk style works – the bewildering bazaar paintings - sold in
the vicinity of the Kalighat temple, manifested in his captivating
calligraphic brush lines to execute sophisticated forms.
austerity of lines only highlighted his immense control over brush. The
lyrically and at times even sensuously done lines with lampblack over
white or pale gray background exuded both vigor and the poetic quality
of his compositions like the Baul and Woman Seated, symbolizing his
- What set him apart was his conscious disownment
of formal art school-trained modernity to adopt the Bengali folk works’
nostalgic lyricism ushered in a distinct new phase in the annals of
Indian Modern Art. He rejected the then modern style of painting,
foraying into the realm of folk paintings. His dramatic yet deft
depictions of aboriginal Santhal drummers and vivacious women figures
gained immense popularity in the 1940s.
- The fascinating
figures were marked by bold, thick and precise lines, catching the
viewer’s attention with their trademark almond-shaped eyes, as if
staring back at one. Art writer Sona Datta aptly dubbed this style of
painting as urban patua, superimposing his unique forms on the folk
style popular in Bengal’s village paintings.
- Jamini Roy
simplified the basic forms, adding a distinct touch to the usage the
medium, material and themes of local painters even as retaining their
innocence, simplicity, and bold, flat colors – mostly yellow ochre,
vermillion, grey, cadmium, green, red, blue and white.
- The animals, Radha, mother and child were all painted in simple two-dimensional forms, denoting flat color application and a clear emphasis on the lines. The figure of the Christ was another recurring subject in his painting.
Monday, November 26, 2012
A truly great modern master of his era
Posted by शांत प्रशांत at 7:20 PM