Guest guest Posted July 30, 2004 Report Share Posted July 30, 2004 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/caitan= 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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