Graphic-Prints of Contemporary (Moden) Indian Aris

Krishna Reddy (b. 1925)

is of the
Reddy born in 1925 in Chittor, Andhra Pradesh, most renowned
one
Krishna d sculptor
and graphic artists of the present day world. After doing diploma
in Fine Arts fromVish o
and from 1952-55 he ch
University, he was in Slades School, London for two years
Academi Grande, Paris. Afterwards he was professor of Art and Director of print makine
York University. His early experiences with sculpture medium very much moulded his intri
as a sculpture to be brought out
graphic images. He uses the plate for etching and intaglio a

print.The effect he produced in works as Pastorale' (1958), °Waterlilies (1959), 'Whirlnan

(1962), Wave' (1963) and Reflections' (1967) reveals his ability to use contradictory forces
His graphic art won international reputation and acclaimed throughout the world for his masterv
y
of technical innovations in the controlled use of viscosity for multicolour printing from the same
the world. He
plate. His creations are preserved in museunms and art galleries throughout received
the 'Padmabhushan' award by Govt. of India.
His work was loaded with the ore of lyricality: as if catching in split seconds the spilling
bottles of fresh milk. His graphic print like Waterlilies' creates almost a Kaleidoscopic effect, so
it is in print and clown forming. He chooses a highly delicate and subtle varieties of harmonious
and complimentary sets of colour. His hollow plate full of these colours looks like a sculpture
piece imparts a sculptural feet to the print in strong relief as in demonstration. His zinc and
and
copper plates which are etched, scraped, carved, grinded and gouged alongwith
his drawing are
fine example of his entire work process.
Krishna Reddy's "Whirlpool'is a famous graphic printthat has received acclaim everywhere
Unlike his 'Waterlilies' he uses the intaglio method on paper. He is a pioneer print maker of our

innovations which has been his main contribution the hetd

time and offers a study of technical to
 felt
he felt duri.
with a Child. a
memento to the dee wounds
during the
casting Mother
sometime after 74
and which was untortunately lost in 1977 Vietnam
which he started
for him of intense research and experiment..
From 1959-64 was a period tation in colo
he felt all his hfe came to prominence showing distinct n Col
intaglio. In which the pain and elegance. His colouretching 'Birth ofo rence
ence for f

the very intricate composition ofgrace se' won him

for *Dream' an intricato
National award in 1962 and third National award .

second
marvels in 1963.
position
with technical
are Standing girl in
compositions (1964), Refuoces"
grief gees' (1964,
His other noted
Unclad beggar family'(1966), all
had their birth in the wounds he felt in the Bengalf
riots, Indo-Pak war'71 and Vietnam war'75.
He enthused his students at C
Calcuta
pre-partition
Delhi and Shantiniketan in print making.
He took to casting after his retirement in 1984,
bronze longer attempted large figras
but no

to the pain and wound he felt throughout hi

He cast series of small figures, giving expression
his own experience ot the world in perceptable
life. It had always been his aim to present visually
terms, so that others also can share it.
is a representational work
The Children' etching with aquatint in black and white
an
the injustice meted out to the meek.
by Somnath Hore symbolising his lifelong protest against
humble and innocent poor people of the society by the rich
and the powerful ruling-class. Be it a
famine or communal riot or war, they are the first to suffer and
die miserably in thousands.
the
The composition 'The Children' is a powerful protest and the expression of the anguish,
artist suffered. It is a close-knit composition of five standing figures, all
victims of starvation. Io
indicate their total isolation, there is no background, perspective surrounding, as ifthey are totally

abandoned by society.
no
The etching shows three emaciated children with bloated stomachs and thin triangular
thema
cages, large heads and small faces with protruding eyes. Their mother is standing behind
ifprotecting them. Another girl child cqually emaciated is standing infront of them. The de
etched ribs and cheek bones appear as deep gashing wounds. The aquatint resorted to is
bttor

any Chiaroscuriostic effects, but for filling the space.

Jyoti Bhatt (b. 1934)

havnagar.
Jyoti Bhatt isof the noted print makers in India
one
during 1960's. He was born in D and
Gujarat in 1934 and completed diploma in Fine Arts from M.S. University, Baroda in 1
post-graduate degree in Fine Arts in 1956.
d a

Along with painting he

successful and noted graphie print maker. He C
is a

two years in Graphic print making at the Pratt Institute, U.S.A. He is also a noted
acrapher
rapher

pil
 eOf photograph can be seen both in his painting and graphic prints. One of his grCat
and
imiiueCne
c n nt
t is photographic documentation "Living traditions of folik art and tribal art inIndia
Cmo

was influenced by English painter Ben Nickolsone to adopt Piccaso's style

h u e v

of cubic
which he
nd
r u c t u r ea n d distortion sometimes adopts in his painting, but has a natural talent and
u
stru
a s t e r y

ver contour lines in free

o v e r sweeping lines overlapping cach other and little tints of colour
mas eating aa fin
creating
fine linear pattern. He is a prominent etcher of Baroda who favours the intaglio
places
on hard:surface).
(etching
cess
process

like quality he shows in his painting, is also found in his ctching. His
Thehearcfinenotcraftsman
merely coloured textual surfaces, but have a deep underlying meaning as in
etchings a r e

and symbols
modern
m painting. They are so well planned in execution and design where diagrams
play interchanging role.
The
Erom 1966 onward he devotedhimself fully to the print making in intaglio process.
embossed intaglio printing won for him a place of r e n o w n in
this field.
active quality of his
1964, 1st
awards include Gold plaque National Exhibition 1956, National award
at
His
e for designing Postage stamp for Silver Jubilee of Indian Independence.
not an orthodox tantrik, illustrator like G.R. Santosh,
but intaglio printing and
Jyoti Bhatt is seriously after 1966.
which he took
etching is one of the many facets of his activities he indulged in and
e Shakti or Devi in the
the idea of fertility and power worshipped a s
The Devi' illustrates the spine
lies as Kundalini, a serpent in the
female form, at the base of
Tantrik cult. This power c a n be made to
mantras and deep meditation, this power
both in male and
female. Through yoga,
resides. Once these two powers
to the brain where the male power of Shiva
rise through the spine
kinds
eight
over the yogic 'Siddhas.
of divine
can achieve immense power
join, a person
He envisages the form
picturised this concept through his etching.
Jyoti Bhatt beautifully section
form of a young lady in the lower
the female fertility power in the
of Kundalini encircling
of the print.
male power residing in the brain
from the original concept of
But he has slightly departed
heart Devi Shakti.
and has placed this power within the
fold of the Kundalini in the
the words from "Pseudo
may have originated
This deviation from the Tantrik concept
decorative pendant on the right
of Devi's head.
lantnk Kundalini"-printed on the
such novelty to
fake pretending Tantriks, luring people with
This may be interpreted as
with their pretensions.
exa benefit and cheat the society
A2Ct
money for their personal form. Shades
an artistic texture to the serpentine
The deep intaglio etching in black provides head. A
in the decorative pendants on each side of Devi's
Ereen have been used artistically
Devi whose open large eyes resemble the Durga images
ant red Bindi ornates the forehead of
from Bengal.
(Modern) Indian Artists | 121
Anupam Sud (b. 1944)
modern age. She was born in
Anupam Sud is of the finest print maker of the
one

Punjab in 1944 and obtained the diploma

in Fine Art from college of Art, New Delhi Delhi. Apu
Af shivarpur
she won a scholarship from the British Council
and learned print making at Slade School, Lor ard
ade Schon terward
The process Anupam uses is different ecdon
where she was for two years from 1971-72. ategory
with silkscreen and lithography. Sha of
intaglio like etching. dry point,
mezzotint, aquatint She is at eass
both in handling the smallest size of 8 cm x 10 cm to the largest size of 121 cm x x a45 cm
in acrylic, but she is best known ch
best known with
skill. She also paints on large canvases mostly for her
equal and
much utilised for artistic emotional creation u
intaglio prints. Her creative skill is not so to
individual today and his problems for survival. Her effor
reveal the tragic existence of the seem
approach. Figures of her men and women are .
to be moving towards a representational fimly
drawn with soft contours, but there is hardly any touch of femininity in them. She simplifies tH
the
background and foreground omitting details and concentrates on the figure which are stronolu
modelled with softcontours. Her coloured intaglio print of "Autumn' a stongly modelled form
but his face instead of having a fulfilled loc of satisfaction, has an anxiety ridden face. The
in Adam and Eve' and "Purusha and Prakriti" all
expression of the faces, of her prints as
reveal the anxiety ridden beings relating to tragic existence of individual feelings. With intaglio
she also mixes photomechanical process as it is from her print "Dialogue series-I' etching, seems

to be a xerox copy from photographs.

She has received the President's Gold Plaque award in 1975. Anupam lives and works in
New Delhi.
Of Walls' a graphic print in lithograph by Anupam Sud which is a mixture of photographic
with drawn bring together the subject
to with objective reality to contrast the
images areas

unfeeling background with pulsating lively human forms.

In this painting a young lady sits in forlorn state wearing the traditional dress of a widow.
There is a brick wall shown beyond her on which pictures of lively activities are faintly dra
to0
to remind the viewers once she was a part of these lively activities till the wall was errected
that she
segregate (isolate) her from social life of meaningful activities. Her black face indicates
has become a non-entity. part of legs lying before her possibly of her dead husband with whose
death she has also died for the society. The print is a powerful protest by the artist agajnst soc
erecting such walls on the basis of cast religion and status.
K. Laxma Goud (b. 1940)
ainter

K. Laxma Goud was bom in 1940 in Nizampur, Andhra Pradesh. He is one of the finest puu
the
He receiveo
and print maker of modern India with message to spread through his creations. He
a
rece 19%63

diploma in Drawing and painting from Govt. college of Art and Architecture, Hyderabad in
in

124 History of Indian Art-XI

 and print making from M.S. University, Baroda da, unde
and did his post diploma in Mural painting
N.S. Bendre and K.G. Subramanyan. For
sometime he was teacher
nd 6.
of performing art, and fine An
was widely shown in exhibitions in India and L
in the University of Hydrabad. His artwork abroad.
his painting and graphics, that in nature, man
A message he wants to spread through
a:

meaning it is continuous and not disconnaasted.

and vegetation there is a structure of continuum,
and the natural urge for it is deeply rone
The continuity of the species is the same everywhere oted
in all the forms of life. He has tried to show it as natural phenomena through his graphics and

paintings.
it. There is certain amount of Vulearitu
The human mind is capable of creating fantasy about
his paintings and
and ugliness which is innate in human beings is presented symbolically through
animals and vegetations are all presented.
graphics, where human beings, birds with female face,
His subjects or his themes of
The chaotic theme was masterly disciplined in his graphic prints.
human and animal, the male and female, the
painting are merged with the "rural or urban, the
beastly and benign like few before him". (Indian contemporary painting-Naville Tuli)
Laxma Goud. The
Man, Woman and Tree' is one of the best known graphic prints of K.
of trees and shrubs on her left
painting shows a female figure, centrally composed with grove
a

and the lower portion of his body

and on her right a male figure under a grove merges with trees
each other and there
is surrounded by a growth of shrubs. The male and female figures are facing
is a smile in the tree spirit's face. The painter has drawn an Indian Version
of the Greek wood

nymphs, both male and female are meeting together.

It's a continuation of the philosophical thought of Laxma Goud that in nature, man,
woman,

trees and animals are in a continuum process.

Saulptures of Contemporary(Modern) Indian Arists
Devi Prasad Roychowdhury (1899-1975)
Bom in 1899 in Rangpur now in Bangladesh, Devi Prasad Roychowdhury is oneofthe most talented
and multifaceted Artists, India ever produced.
He started learning drawing from Abanindranath Tagore and as his disciple he started painting

in water mythological subjects. But soon he was drawn to paint

colour both in tempera and wash on

men and women, the wage-eaers

and started painting from life models. Instead of painting elongated
The painting
distorted figure, he drew figuresbased on bold lines with beautiful application of colour.
in 1925 is one such neatly drawn face.
He had complete mastery over the use of water
Lepcha girl' shown in London
and ink. His painting Green and Gold' in water colour was
colour, oil, pastels, pen in oil, are some of his great
in pastel, 'Durgapuja procession'
exhibition. 'Nirvana' in oil, Bridge'

paintings. under Hiranmay Roychowdhury.

He was a master ofanatomy
and had early training in sculpture
excelled in casting rather than carving.
As a sculptor he
te was a genius both in painting
and sculpture.
and bronze casting.
ie was at ease in using clay modelling,
plaster of Paris
bronze in 1958, *Triumph
of Labour' on
cast in
Gandhi' at Kolkata,
The statue of 'Mahatma to the stupendous
Patna in 1956 bear testimony
Memorial'installed in
Madras beach in 1954, 'Martyr's
India after him.
never equalled in
Cnievement of the sculptor Director of UNESCO Art
Kala Academy,
director of Lalit
After 1953, he was president and Bharti University, Kolkata and awarded
Rabindra
D. Litt. of
cminar Tokyo, received honorary
in
Padmabhushan' by Govt. of India. "Triumph of Labour' would ever
remain an
group,
The outstanding bronze
sculpture of the in the formidable task
of
in the group engaged
The four figures engaged
paralleled example of sculpture. anatomical studies ofmen
logs are pertect
the help of wooden | 127
g a m a s s i v e rock with Indian Artists
Sculptures of Contemporary (Modem)
 task requiring maximum physical effort. They are muscular labourers scantily clad in
lian
enicce
a piece
of
ofcloth wom around the body at the hips by men.
loth
The straining seminude hgures reveal the senews and muscles of their magnificent bodies win
The labour they put in is symbolical of the
|acclaim. Th has put
l aclaim.
u n ne r s a l ,
progress of man. The sculptor
fashion, the diffhcult reverse movement which is a unique feature of the sculpture. The
masterly tashion,

re shows a rare quality of dynamic mobility.

u l p t u r e

neviprasad was greatly influenced by the French master sculptor August Rene Rodin.

Ramkinker Vaij (1910-1980)

Ramkinker
inker Vaij
Vaij is
is a rare example of an artist who rose to greatness by sheer detemination and

tion. He was born in 1910 in a poor family ofbarbers in the outskirts of Bankura, West Bengal.
dedication.

c family could not spare money for his papers, or paints or his teaching. He had to pilfer spices
from his mother's kitchen and vermilion from their toiletry to paint pictures. He had no
ikehimeric
ur

so ever from any one, yet.

raining what
The painting entitled 'Sita's exile' which he painted at the age of 15 was published in 'Prabasi"
nd helped him to get
admission at Kala Bhawan, Shantiniketan under Nandalal Bose. The same
nining won for him a gold medal in an exhibition in Delhi. He maintained himself in the college by
ilustrating
books and selling his paintings whenever he could.
To leam clay modelling, he and two other fiends pilfered the local crematorium to find skeletons
(or learning anatomy. His ereative urge was so great that when he couldn't find more to buy plaster of
ars or other materials, he used red gravel, sand and cement for his famous outdoor sculptures like
Santhal family, 'Sujata', "Harvester' which were cast directly on the road side around Kala Bhawan.
He neither belonged to the romantic Bengal School nor to the academic style of the Westerm
models. His style is individualistic and pioneering in nature. There is tremendous dynamism in both
his sculptures and paintings, like "The call of the Mill' (oil), 'Reaper (water colour) and sculpture
like Girl and the dog'. Apart from his portrait of a lady cast in bronze now in N.G.M.A., all his
Sculptures are outdoor works and are characterised by tremendous energy. His creation belongs to the
Mnd and the soil. The
years from 1930-40 proved to be most fruitful years when all his sculptures
NGTC completed. His sculptures or paintings all bear his personal stamp in style and execution. He
dREW Or built as he felt. His feling was a law unto him. Creation was a fulflment of his own desire.

fe was extremely resourceful in finding out the materials for his outdoor sculptures like the
Anthal family', 'Sujata', Returning from the market', 'Girl and the dog'. He chose the gravel
Omthe 'Khoai' and sand from the local river 'Kopai' flowing by Shantiniketan, only things he had
to
purchase were cement
rChase ce and iron rods, which possibly he paid from his own pocket as they were nor
commissioned.
 mkinker's all sculptures are
outdoor work. his themes
with whom he spent the time at Shantiniketan. generally deal with the lives of the
ple
the Santhals.
nd 1930. the Santhal families
Around
a day at
migrated from Santhal Pargana in Bihar in scarch of work
ind
often spent a Shantiniketan. Ramkinker modelled them in
amous sculpture the Santhal family'. cay. This he tumed into that
anthal family 1s a
complex composition with two
basket hanging from figures standing side by side, a dog, a child
ine in a a
pole. The woman is walking beside the man. She has a
load on her
wadA dog accompanies the man. It is an entire
family in migration. It symbolises labour migration.
This is a harsh real picture of a family forced to leave their
land by hunger.
The sculpture follows no set style but the style
of the rough textured land of gravel and red clay
a Shantiniketan. The road side composition camies the dynamism of the road.
Ramkinker s sculptures reflect his concerm and feeling for the life of that simple people around
hum. None of his outdoor sculptures are placed on pedestal to establish their close earthy connections.
Amar Nath Sehgal (b. 1922)
Amar Nath Sehgal was borm in Uampbellpur in Attok district in Pakistan in 1922 and to
moved
India after partition. He studied art privately in Lahore and obtained Master degree in art from
ew York University in 1950 and for sometime he was an art teacher in Moderm School, New
Delhi. He is a philosopher. poet. artist and a craftsman.
the modern times. The lack of love
He reacted strongly to the pathos and suffering of man in
link between
He felt that the work of an artist is to be a
and compassion in society moved him greatly.
which he received
towards society from
himself and society. He feels that an artist has a responsibility industrial
he wants to show how growth has made man deaf
artistic inspiration. Through his works
an extent that he is totally
and dreams and has hardened him to such
to the inner voice, thoughts
shown in different exhibitions,
only. His Anguished cries' in bronze
mmersed in the thoughts selfof
'what man has made of
he himself feels at the thought of
Is an expression of the
s e n s e of anguish towards society he
thought of love and moral responsibility
man'. Man today is totally
unmoved by that an artist with his brush
believes
with his protest. He
An artist hasbe with the society
to the
lives in. love and compassion to
of man. He has to spread a message of
and chisel can conquer the
hearts victims. His poems like
and downtrodden and the political
cries of the poor
rulers of the society to the distortion of his human
to the society. The
life spread the same messages
which
noating cries and abyss of and torture, hunger,
violence and war of
of life. the misery he
Toms expresses the grotesqueness of love and compassion,
of art., but for the message
not for the sake
mankind is a victim. His art is

wants to spread.
His sculpture falls into four stylistic groups Amanath has

(c) Surrealists
and (d) Abstract.. In sculpture,
Cubists, (b) Expressionists. and even
ge
a terracottas. woods, stones, bronzes
mediums as plaster of Paris,
ditferent ndian Artists 131

es ofConte
 w Idely known bronze casting entitled ries nheard' by Amarnath Sehgal won hm
The
lent's CGolden Plaque award in l1958.

Its a symbolie ercation ol a family of three figures, the parents and their ch1ld. cxpressing
angush ot the seulptor at the injustice prevalent in society. The tall elongated figures with
istorted faces and hands raised towards the sky are shouting to the world how through the
hn have been victims of political and social injustice with no one to hear to theit protests.
k like faces ot the victims Seem to suggest they have been suffering in perpetuiny at the
he'
m.ask
unjust people in society. who have been exploiting them.
n d s

Sehgal believes that it is the responsibility of the artists to make the cries of the down

sijen and victimised people heard by society. The distortions ofthe figures present the sociat
The lifelong
evil and the distorted view of society which has become immune to human misery.
have made them hollow
cploitation
P.. Jankiram (b. 1930)
P Jankiram was born in 1930 in Madras. He received the degree in Fine Arts in 1953 from
1964.
GOvt. Art College, Madras, and in Sculpture in 1963 and Commercial Art in
the
generation of atists who have absorbed all
new
Jankiram belongs to the second new
In the
coming from the west while reawakened the forgotten streams of artistic expression.
ideas
stir in artistic world form that has somehow got lost
by retrieving the figure
60's he causcd quite a
made
and face masks of the deities in the South
completely in modernistic abstraction. The body
the idea of using beaten metal plate or copper shet to create his
of beaten silver gave Jankiram
concave surfaces to serve his style.
wo-dimensional pictorial sculptures by hammering
from K.C.S. Panikker,. (Principal. Madras Art
The greatest influence in his style came
tantrik art, tribal
who led his students to discover their Land's own artistic protential, the
College) Mahabharata.
art, folk art and oral art traditions of the Ramayana and the
like the carved freezes that the doorway
His sculptures are called pictorial sculptures and are
reflect architecture, sculpture and painting. Jankiram chose the pictorial
of Sanchi. His early pieces elements.
fom embellishing their surface with linear
Sculpture in sheet metal as free standing
Jankiram's creations are like icons
While Bhagat's sculptures dealt with mystical concept.
work is
the of deities or incarnations
with their details. The striking feature of his
bearing look
frontal face to face sculpture with ornamentation
with folded bits otf copper and thin copper wires
"Garuda' (1980). Ganesha
welded into the figure as is clearly shown in his 'Krishna"' (1982),
9 ) . Christ' (1966) with open arms as if to embrace
the downtrodden of the earth

in his Madona and Child' (1964-65) one may see

the stylised elongated elements which

ures of Contemporary ( odlen) indlan Artists 133

 en iin later works as in 'Flute Player' (1972). In *Madona and C hild' the background
s e e n

be
also
1 also serves as veil.
hcel
mctal
P.V.
esthetically P.\ Jankiram's Ganesha' in oxidised copper preserved in the NGMA
Acs

finest creations of the sculptor. It's an example of Repousse' work consisted of

he
one o f t h e

1m1nering

concave
c o n c a v surfaces into the metal to serve his style. It has been termed as frontal

or
two-dimensional sculpture.
pture
of Ganesha using the lower two hands to hold the Veena and
The six handed dancing igure
the look of
play ing it
it, while
four others hold the traditional sankha-chakra-gada-padma to bear
features of plasticity of form. frontality.
in incarnation. The sculpture shows some unique
deity
ornamentation as there is a concious effort to
sintuity and smoothness of surface and exquisite
The placing of the Sankha-Chakra and Gada helps the sculpture
t h e folk art ofthe South. a hint of
the original of the traditional imagery. The form is not static but gives
e closure to

in his dancing posture.

movement
India and the gateway of
Jankiram was greatly influenced by temple sculptures of South
Sanchi stupa forms.
and dynamic form revealing his
He has imparted sculpture a high quality of rhythmic
to the
a marked indigenous style
Jankiram's sculptures although possessing
meticulous craftsmanship.
their in a contemporary s e n s e .
identity
be rather too ornate in form to be categorized in
tend to

Aekka Yada Giri Rao (b. 1940)

different and inevitable facets of woman's life.
Chaturmukhi' is a famous sculpture depicting four more than what
and expression, denoting a complete circle of life. It tells
It is very symbolic in nature who
of work by Aekka Yada Giri Rao
was

Chaturmukhi is piece
really a consumate
meets the eyes. arts.
where he completed his studies in college of fine
borm in 1940 in Hyderabad,
the ideology of the
made of sandstone, thirteen feet in height representing
This sculpture is four sided large
based on geometrical
form on square platform. It is a
artist in symbolic style. It is
lawn of National Gallery
of Modern Art. New Delhi.
monolithic column sculpture placed in the
a woman's head
which symbolises her memories starting
The front face of the sculpture shows
into notice depicts
The other side which comes
rom her childhood and culminating in her middle age. of totality.
folded in bud shape. It symbolically delivers a message
ne
virgin maid whose hands are of a male which
PerTection and hidden potentiality. The third side
shows the woman in the company
of
life. The fourth side of the sculpture is a representation
4ps represents her newly married of the sculpture leaves
an impression
of
The complete view
m i n i n e aspects of w o m a n .

Complete panorama of woman's life.

Artists | 135
(Modern) Indien
Sculptures of Contemporary
 Mrinalini Mukherjee (1949-2015)
The only daughter of acclaimed artists Binode Behari and Leela Mukherjee, Mrinali.
studied
art education at M.S. University of Baroda and mural design under K.G. Subramanva die
nyan.
Mrinalini is known to experiment with different mediums, incorporates the principle ol.
and growth in nature in her tactile sculptural forms in hemp, sisal rope and strings rhythm
strings which
which appear
to possess a life of their own. She uses the traditional technique of 'macrame' or knota
fresh ereative application. ng in

VANSHREE
Her Vanshree' (1994) is a 'craft' sculpture, of yellow and mauve coloured free-standin.
woven
tom. Her eyes are sunken in or perhaps hooded, her lips protude sulkily. Keeping an umbrella
above her head, she sits grandy upon a golden throne. The knotted surfaces transcribe the volume
and masses.

Questions
1. Write an essay on Ramkinker Vaij and his creation 'Santhal Family'.
2. Mention the subject matter of 'Cries-Un-Heard'.
3. Show the classical influence on the sculpture of "Ganesha'.
4. What do you mean by Repousse?
5. What is the artist trying to reveal by his sculpture 'Chaturmukhi ?
6. Write short note on the sculpture 'Chaturmukhi'.
of contemporary print making. Intaglio process Is an engraved design, a special

on hard materials. It is a process of print from the engraved design.

cially inciseddcarvi
carving
Whirlpool' is a notable painting, a creative visual form, resulting from
n
the line
that interpenetrate and receding to space. of
This Whirlpool is creation of an image of turbulent water coming from all sides.
force
has
together to form a whirlpool and recede into space. Krishna Reddy ha successfully d clashing
caught the
whirling motion, a thoroughly new discovered technique of printing known as viseought
cosity
It is a technique of multicoloured printing controlled through Viscosity of the paint
in the painting. The painting gives an image
ng
or ink used printing
frothy umultuous waves
of the converpinee
the centre from all sides. The artist has used the different shades of blue and
and green ta. wards
green to enhance
texture of the print which gives out a special brightness ethe
Somnath Hore (1921-2006)
Somnath Hore was the versatile talented artist of Modern India. He was born in
most
Chittagong, now in Bangladesh. He was a self taught artist. He started handwritten posters1921 in
for d.
then banned of Communist Party. During the terrible famine in the
Bengal in 1943, Somnath ided
by Chittaprasad, a renowned artist started sending line-drawings of famine stricken d
the C.P.I. party paper Janayuddha'. All his human and animal people for
figure sketches were almost sl
skeletal with prominent thoraxthe rib-cage. Encouraged by P.C. Joshi, the
as
he joined the Govt. College of
Communist leader
Art in Calcutta, 1945. Here he came under the influence of Zainul
Abedin who drew the victims of the famine with
great Hore became
mastery. enthusiastic
an
pupil trying to master painting. Inspired by Chinese woodcuts he started
produced woodcut printing on Communal Harnmony, a scene of meeting learning
it and in 1947,
addressed by Mahatma
Gandhi-a group composition with a great number of
figures with line drawing only.
He passed the diploma examination from
the Govt. art school in 1950, and decided to make
a
living from painting, drawing and print making. By sheer
mastery of relief printing media of woodcut, wood perseverance, Somnath achieved
He started learning the engraving, lino-cut and multicolour woodcut
He was a lecturer in
technique of intaglio
printing and by relentless effort mastered it in 1
College of Art and Draughtsmanship,
joined as senior lecturer and Head of Calcutta from 1954-58. In 19>6,
visiting professorin M.S.
Graphic
Art in Delhi
Polytechnic and in 1966, ne as

Shantiniketan and finally in

University, Baroda and also a visiting
1969-84, he remained as professor in Kala Du
of Kala Bhawan. professor of Graphics in the art depai
ment

The Bangladesh war in 1971 and the

mind as crime Vietnam war 1975 left s sensitive
against humanity. deep wounds in
n
From 1974 he started, as a diversion to work with
bronze and created a remarkaDi
118| History of Indian Art-Xil