Mapping two generations of artists from Bengal

No other Indian state perhaps has received so much attention of artists and writers for generations as much as Bengal. According to Jasmine Shah Varma, a new collection conceptualized at Mumbai’s Viewing Room along with Patrimonio Gallery is a pointer to the role of artists of Bengal in influencing Indian contemporary art in the practice of sculpture, printmaking, watercolors, and oil paintings.

Also of note is their narrative of the human condition shaped by the historical events in the state, the curator concludes. Late Shyamal Dutta Ray is known as an artist to have added a depth and intensity to the medium of watercolors when the Bengal school of Art traditionally used light and watery colors.

Among the later generations Bikash Bhattacharjee has been prominent for his visual language. His Doll series was a response to violent political strife in Bengal. He made no direct reference in the portrayal of the brutal happenings. The doll was an allegorical trope to give expression to the common man's suffering and helplessness. His portraits are noted for imbuing the luminous force of life yet at the same time making us aware of the foreboding element of death.

While the artists considered belonging to the Bengal school continue to perform reasonably at international auctions, the fact remains that they have not managed to scale the million dollar peal attained by the Progressives. Renowned art writer Ashoke Nag had mentioned in an Economic Times essay last year: “What is really interesting is that most Bengal masters used to once score quite highly at international art auctions, especially in the mid 80s and early 90s. These included noteworthy names like Hemen Mazumdar, Jamini Roy, Nandalal Bose, the Tagores and subsequent Bengal masters like Ganesh Pyne, Somnath Hore and Jogen Chowdhury."

However, as he pointed out, their work seldom reached the dizzy price levels that were effortlessly achieved by the PAG artists. Husain also used to admire many Bengal masters, so there needs to be a better reassessment of the Bengal School particularly in the context of the Indian art’s Indianness.