Guest guest Posted July 30, 2004 Report Share Posted July 30, 2004 to access links do not add the = equal sign that idiotically adds to the link thus disabling it. > I HAD TROUBLE WITH THESE LINKS SO HERE THEY AGAIN. YOU MAY NEED TO > COPY AND PASTE ADDRESS TO ACCESS IMAGES > > Main Centres and Artists: > http://www.indiancanvas.com/historyofindianart/painting/modernistinterlude/= = > maincenters.htm > > In charting the move away from the 'nationalist' phase to the new > 'modern' departures in Indian painting, one can offer a variety of > accounts. My narrative attempts to encompass and represent these > different accounts, as they unfolded either simultaneously or in close > sequence over these two decades. > The 1920s, the very decade that saw the all-India spread and > institutionalization of the Indian art movement, provide some of the > main turning points. Here, our attention turns, first and foremost, to > the new art-teaching centre – the Kala Bhavan – which Rabindranath > Tagore set up in 1919-20 within the university he had just founded at > Santiniketan, which he entrusted to the charge of Abanindranath's > prime pupil, Nandalal Bose (1882-1966). > http://photos.vediculture/lst?&.dir=/caitanya+mahapr= = > abhu&.src=gr&.view=t&.url=http%3a//us.f1.fs.com/groups/g_1017437/caita= n= > ya%2bmahaprabhu/parthasarathi%2bby%2bnandlal%2bbose.jpg%3fbcdBNCwBBzLHOmtC&= ..= > cx=103&.cy=150&.type=u > 'Sati',(c.1907) > (Watercolour & Wash) > > Nandalal lBose > > Hereafter, if Santiniketan replaced Calcutta as the alternative centre > of 'national art', it did so by signalling a powerful shift away from > the earlier pattern of 'Indian-style' painting. > > Nandalal Bose's work of these early Santiniketan years carried forth > the full force of this transformation. The same artist who had earlier > contributed most effectively to the prototype of `Indian' painting now > pioneered a range of stylistic and compositional innovations. > > > 'Shri Chaitanya' under the Garuda Stambha at Puri, > http://www.indiancanvas.com/images/historyofindianart/indian_paint/21_2.jpg= = > = > > (Watercolour, > > C.1907 -1910) > > Nandalal Bose > > The change is most clearly marked in the enlarged scale of Nandalal's > work, in an accompanying boldness of colour, line and form, in an > unusual vibrancy of drawing and brushwork., and in a new grounding of > subject matter in the artist's immediate visual environment. > > Nandalal's prolific outpour of sketches and paintings of the 1920s and > 30s resonate with his obsessive interaction, now, with nature and the > physical realities of form, more specifically with the Santinketan > landscape and setting, its rural ambience and its variety of craft and > folk art-traditions. > > > Even as 'art' was brought down from its classical, romantic pedestals > to be located in the sphere of nature and everyday life, the 'nation' > found a new location in the physical terrain and living traditions of > village India. The charisma of Nandalal's art of these years lay in > its critical positioning between the old and the new - between a > 'nationalist' lineage whose meanings it sharply redefined, and a > 'modern' identity, which it retained within a distinctly indigenised fold. > > > In charting the move away from the 'nationalist' phase to the new > 'modern' departures in Indian painting, one can offer a variety of > accounts. My narrative attempts to encompass and represent these > different accounts, as they unfolded either simultaneously or in close > sequence over these two decades. > The 1920s, the very decade that saw the all-India spread and > institutionalization of the Indian art movement, provide some of the > main turning points. Here, our attention turns, first and foremost, to > the new art-teaching centre – the Kala Bhavan – which Rabindranath > Tagore set up in 1919-20 within the university he had just founded at > Santiniketan, which he entrusted to the charge of Abanindranath's > prime pupil, Nandalal Bose (1882-1966). > > 'Sati',(c.1907) > > (Watercolour & Wash) > > Nandalal lBose > > Hereafter, if Santiniketan replaced Calcutta as the alternative centre > of 'national art', it did so by signalling a powerful shift away from > the earlier pattern of 'Indian-style' painting. > > Nandalal Bose's work of these early Santiniketan years carried forth > the full force of this transformation. The same artist who had earlier > contributed most effectively to the prototype of `Indian' painting now > pioneered a range of stylistic and compositional innovations. > > > 'Shri Chaitanya' under the Garuda Stambha at Puri, > > > (Watercolour, > > C.1907 -1910) > > Nandalal Bose > > The change is most clearly marked in the enlarged scale of Nandalal's > work, in an accompanying boldness of colour, line and form, in an > unusual vibrancy of drawing and brushwork., and in a new grounding of > subject matter in the artist's immediate visual environment. > > Nandalal's prolific outpour of sketches and paintings of the 1920s and > 30s resonate with his obsessive interaction, now, with nature and the > physical realities of form, more specifically with the Santinketan > landscape and setting, its rural ambience and its variety of craft and > folk art-traditions. > > > 'Partha -Sarthi (Watercolour & wash, c.1912) > > Nandalal Bose > > > > Even as 'art' was brought down from its classical, romantic pedestals > to be located in the sphere of nature and everyday life, the 'nation' > found a new location in the physical terrain and living traditions of > village India. The charisma of Nandalal's art of these years lay in > its critical positioning between the old and the new - between a > 'nationalist' lineage whose meanings it sharply redefined, and a > 'modern' identity, which it retained within a distinctly indigenised fold. Quote Link to comment Share on other sites More sharing options...
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