0% found this document useful (0 votes)

266 views31 pages

Printmaking in India

Uploaded by

Sadhish Sharma

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

Download as PDF, TXT or read online on Scribd

0% found this document useful (0 votes)

266 views31 pages

Printmaking in India

Uploaded by

Sadhish Sharma

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

Download as PDF, TXT or read online on Scribd

You are on page 1/ 31

Jain 64

CHAPTER 2

DEVELOPMENT OF PRINTMAKING
IN INDIA
Jain 65

DEVELOPMENT OF PRINTMAKING IN INDIA

“Print has always been something of an amalgam of art, craft and

science of creativity, skill and technology.” (Robinson 6)

Commencement of Printmaking

Fifteenth century marked the beginning of printing activities in Europe when

Johann Gutenberg of Germany, invented the technique of printing with the help of Press,

durable moveable type-face in 1450. (Movable type) His invention of the mechanical

movable type printing started the Printing Revolution in Europe, which is widely viewed

as the most important event of the modern period. (Miller) In 1452 the first Bible was

printed – the 42-line Bible, known as the ‘Gutenberg Bible’. (Johannes Gutenberg) Later,

wood-cut prints were also printed which played an important role in the development of

this technique.

Printmaking in India

In India Printmaking started in the beginning of 20 th century as a creative medium,

but the printing activities among artists were very limited till 1950’s. However, it was

found that the use of wood blocks was already popular in India since ancient times and it

was used as state stamps. (S. Sharma,

Kashth Chapa Kala 51)

The first printing press was

established in Goa in around 1556 by the

Christian missionaries. (Mukhopadhyay and

Das, Graphic Art in India: 1850 to 1950 (A

Brief Background and History) 5) They

Plate2.1: Printing Press at Goa
Jain 66

were the first to start printing on paper for spreading Christian ideology in India. For this

they imported printing presses and moveable types from Lisbon and printed their first

book in the same year. Books only of Italian and Portuguese language were printed there.

Along with the press and other material for printing, few engraved blocks of wood were

imported which were later printed in religious books.

Few years later, in 1568, first illustrated cover was printed at Goa in the book

entitled “Constit ciones do arcebispado de Goa, Appro Vadas Pello Primeiro Cocilio

Provincial.” It depicted an image of a traditional doorway or entrance made in wood-cut.

The earliest intaglio picture of metal plate engraving was printed in1716 in a book

“Gramatica Damulica”; Tamil translation of the Bible. (Das, The Early Indian

Printmakers. An Approach to Social Science, Ethinical and Technical Study 7) However,

the earliest print by an Indian artist is noticed during 1816 in Calcutta, about two hundred

and fifty years after the first wood-engraving in Goa. (Das, The Early Indian Printmakers.

An Approach to Social Science, Ethical and Technical Study 8) During this period

printing activities also started in different parts of India with the establishment of presses

near Madras, Shreerampur, Hooghly and Calcutta by Christian missionaries.

Calcutta, the capital of British India, witnessed the maximum development in

printing activities. To keep an account of their discoveries and travels in India they

published journals and books which were embellished with illustrations in wood-cuts and

engravings. Although they tend to be imaginary as they were produced by artists who

never visited India, but they are an important source of the visual information about those

early days.

Gradually life became more structured and settled, and people became more

interested in documenting pictures. Henceforth professional artists and engravers began to

arrive in India. From 1760’s onwards, East India Company encouraged professional
Jain 67

British artists to work in the main

cities of India, especially

Calcutta and Madras. Between

1767 and 1820 about sixty

amateur artists from other

countries visited India. (The

History of Printmaking in India. A

Plate2.2: William Hodges, “A view of part of the palace of
the late Nabob Suja ul Dowla at Fizabad [Fizabad, Shuja-
look into the development of fine ud-daula’s Palace], Aquatint with Etching, 1787

art printmaking in India) Of these foreign artists, a few were basically engravers and

printmakers; they include Joseph Shepperd, Caleb John Garbrant, Thomas Daniell,

William Hodges, Richard Brittridge, James Moffat, Thomas Taylor, Henry Hudson,

William Baille, Frans Baltasar Solvyns, Avon Apjon, etc. (Das, The Early Indian

Printmakers. An Approach to Social Science,

Ethnical and Technical Study 9)

During their stay in India they prepared a

large number of prints containing etching,

engraving and lithographs on different subjects

including historical episodes, portraitures, field

sports, naval & military events, customs, costumes,

daily life events, social life caricatures, celebrated

personages, various craftsmen and workers in their

natural surroundings, topographical views covering

architecture & archaeology, scenic studies of Plate2.3: Princess Victoria Gouramma

of Coorg (1819-1901). Line-engraving
mountains, rivers, waterfalls & coastlines, nature by R. Graves after F. Winterhalter,
London, c. 1835. India Office Library
printing, illustrations of various birds and animals, and Records, The British Library,
London.
Jain 68

etc. (Rohatgi and Godrej)

Engravings and lithographs of important British officials after oil paintings by

professional artists were also produced in considerable number. Apart from professional

artists, Company’s civil servants and military officials also used to spend their leisure

hours sketching subjects that caught their attention. (Rohatgi and Godrej)

The two prominent artists from this time were William Daniell and Thomas

Daniell. In 1786 they published the

album, Twelve Views of Calcutta,

containing twelve original

etchings, worked and printed in

Calcutta. All the etchings were

monochrome and stained with

coloured inks. This was the first

Plate2.4: Thomas Daniell, “Gateway of the tomb of Akbar
time anyone has explored the
at Sikandra”, Hand-coloured aquatint engraving, from
Oriental Scenary, London, 1795. Indina Office Library
possibility of single sheet printing
and Records, The British Library, London.

on a large scale in India. (The History of Printmaking in India. A look into the

development of fine art printmaking in India) The end of eighteenth century and

beginning of nineteenth century may be considered as the golden age of engraving and

lithography in India.

In 1779, East India Company established its printing press in Calcutta where

pictures and illustrations were printed by foreign engravers and artists. (S. Sharma,

Kashth Chapa Kala 53) The local craftsmen learnt the technique of printing from

European artists who worked there. In the beginning they were unable to grasp the

technique as it was not in their traditional practice, but slowly they adopted the process

and learnt to put their traditional skills to new uses and applications. Whatever they learnt
Jain 69

there was to fulfil the requirements of the British presses and not for the development of

printing as an art form.

Until 1820s, printing activities in India were dominated by Europeans, but

gradually it shifted towards Indian enterprises. (Mukhopadhyay and Das, Graphic Art in

India: 1850 to 1950 (A Brief Background and History) 6-7) The regular demand of wood-

cut blocks, steadily developed printmaking into a business, thus, Indians also entered the

mainstream of the printing business. Like the British publishers, they also started

incorporating engraved illustrations in printed books. The earliest signed printed

illustration appeared in a Bengali book, “Oonoodha Mongal”, printed at the press of

Ferris and Co., Calcutta, in 1816 bears the declaration ‘engraved by Ramchand Roy’.

(Mukhopadhyay and Das, Graphic Art in India: 1850 to1950 (A Brief Background and

History) 7) Thus it can be said that the history of Indian Print-makers started with the

name of Ramchand Roy.

During this period, several illustrated printed books in Bengali language were

published from Calcutta and the illustrations of wood-cut, wood-engraving, etching and

metal plate-engraving were executed by Indian artists. By the close of second decade of

nineteenth century, we had the names of nine Indian graphic artists; they are Ramchand

Roy, Biswambara Acherjee, Roopchand Acherjee, Ramsagar Chakravorty, Birchandra

Dutta, Ramdoon Sarnakar, Madhav Das, Casheenath Mistree and Harihar

Bondhopadhyay. (Das, The Early Indian Printmakers. An approach to Social Science,

Ethinical and Technical Study. 10)

Many printing presses were set up at various places in India to spread European

education system where books in Devnagri, Bengali and English languages were printed

along with illustrations in wood-cuts.

Jain 70

From the beginning of nineteenth century, wood block printing was already in

fashion. In around 1818 Bishwanath Dev set up the first printing press in the Shobhabazar

of Calcutta. (Kumar, Bhartiya Chapachitra Kala: Aadi se aadhunik kaal tak 55) Soon it

became the hub of printing activities and emerged as a Book district in Calcutta by 1820.

(Shah) This evolved the famous wood block print in the first half of the nineteenth

century as book illustrations. The prints produced here were known as the ‘Bat-tala

prints’. Bat-tala is a name derived from a giant banyan tree in the Shobhabazar and

Chitpur areas of Calcutta. (The History of

Printmaking in India. A look into the

development of fine art printmaking in

India) The prints that developed here were

a variation of the Kalighat paintings made

on contemporary themes and gave a

distinctively modern feel. It soon became a

Plate2.5: Bat-tala Print

flourishing trade and picture production began to mushroom all over Shobhabazar,

Dorjitola, Ahiritola, Kumurtuli, Garanhata, Simulia and Baghbazar. (Sengupta, Under the

Banyan Tree - The Woodcut Prints of 19th Century Calcutta)

Beside woodcuts and engravings, during nineteenth century lithography was

widely practiced and popularized by the British. In 1825, Asiatic Lithographic Press was

established in Calcutta. (Kumar, Bhartiya Chapachitra Kala: Aadi se aadhunik kaal tak

57) Indian artists also learnt the technique of Lithography, which was totally unknown to

them. Jairam Das, a working artist learnt this technique from Sir Charles D’Oyly in Patna

during 1828. (Das, The Early Indian Printmakers. An approach to Social Science,

Ethnical and Technical Study. 12) During his stay at Patna from 1821 to 1832, he

organized an art society called ‘The Behar School of Athens’. He imported a lithographic
Jain 71

press from England and taught and worked with Jairam Das along with some other local

artists. (The People of India 8)

With the increased popularity of graphic art in India, art schools in Madras (1853),

Calcutta (1854), Bombay (1857), and later in Lahore (1878) were established. (Ganguly)

Different printing techniques were introduced in the teaching programme and more

emphasis was laid on wood engraving, wood-cut and lithography. Priority was given to

illustrations and copy work. It was taught as a medium of mass-reproduction of pictures

rather than as a creative medium.

Later, in 1870s several private presses flourished in different parts of India

namely: Calcutta, Dacca, Bombay, Pune, Lucknow, Delhi, Madras, Mysore and Punjab.

(Mukhopadhyay and Das, Graphic Art in India: 1850 to 1950 (A Brief Background and

History) 7)

By the late nineteenth century, in Bombay,

emerged an indigenous school of lithography

where prints drew inspiration from the classicism

of Tanjore painting and the academicism of

European art. With the arrival of Raja Ravi

Varma and Bamapada Banerjee in Bombay in the

last quarter of the nineteenth century, the

European style began gaining popularity. Their

work represented western style depicting Indian

themes. Raja Ravi Varma setup his own

Plate2.6: Raja Ravi Verma, “Haunsa
Damyanti Sanwada”, Oleograph
lithographic press, known as the Ravi Varma

Press in Ghatkopr, Bombay. (The History of Printmaking in India. A look into the

development of fine art printmaking in India) Here several of his oil paintings of popular
Jain 72

myths, legends, gods and goddesses were reproduced using oleography technique. This

marked the beginning of calendar art and the first instance of ‘high’ art intermingling

with the ‘popular’. (Sengupta, Lead Essay: Lasting Impressions)

Till the seventies of the century traditional craftsmen who turned into graphic

artists, followed the stylistics trends of the eighteenth century miniatures or the folk

paintings of Eastern India and were directed towards capturing realism, as seen in the

pictures imported from the West. After 1870s some of the talented graphic artists,

especially those specializing in wood-engraving and wood-cut, succeeded in combining

the Western and Indian styles and evolved their integrated personal styles. The nineteenth

and early twentieth century printing was concerned with production of images and

designs for commercial considerations. (Ray, Printmaking in Bengal 44-45)

Hence the beginning of twentieth century marked the shift in the aesthetic

preferences of people, which lead to a gradual emergence of a group of artists who

engaged themselves in developing a fresh, ‘new’ Indian aesthetic. (Sengupta, Lead Essay:

Lasting Impressions) The difference between printing

and printmaking began to become clearer and creating

an identity of its own. With the development of this

form of art, ‘Bichitra Club’ was established by the

Tagore family of Calcutta in 1915 where new style of

painting and printmaking were explored. (The History

of Printmaking in India. A look into the development

of fine art printmaking in India) Gaganendranath

Tagore was the first modern Indian individual artist Plate2.7: Gaganendranath Tagore,
Lithography
who tried to transform printmaking from a mere

economic activity to a cultural activity and to communicate his socially significant social
Jain 73

responses to people. He took special interest in lithography and used the print process for

his caricatures to communicate. (Ray, Printmaking in Bengal: A Quick Survey 45)

Mukul Chandra Dey was also an active member of the club and was the first

Indian artist who went abroad to learn the printmaking techniques. (S. Sharma, Kashth

Chapa Kala 55)

Printmaking at Santiniketan

The new era in Indian art began with the establishment of Kala Bhavan at

Santiniketan in 1919 by Rabindranath Tagore. The creative atmosphere of the newly

established art collage received a new energy in the graphic art movement in India when

in 1921 Nandalal Bose took charge of Kala Bhavan. (Das, A Brief History of

Printmaking at Santiniketan) The credit for creating extreme interest in creative printing

in this period should go to Nandalal Bose, Ramendranath Chakravarty, Manindra Bhusan

Gupta and Biswarup Bose. They created a number of woodcuts, lino cuts and etchings.

In 1923, Mexican connoisseur Fryman visited Santiniketan where he

demonstrated the process of Japanese multi-colour woodcut printing. This was

experimented by Ramendranath Chakravarty and he excelled in colour wood cut printing.

(Das, A Brief History of

Printmaking at Santiniketan) He also

learned the techniques of lithography

and etching from Surendranath Kar

who was trained in these techniques

from London during 1925. (Das, A

Brief History of Printmaking at Plate2.8: Ramendranath Chakravarty, Woodcut

Santiniketan) During this period Nandalal Bose, Ramendranath and a few artists of Kala

Bhavan executed some lithographs also.

Jain 74

Manindra Bhusan Gupta got interested in printmaking and joined Kala Bhavan.

There he started with wood engraving and woodcut. Biswarup Bose, after learning the

technique of Japanese multi-colour woodcut, made colour reproductions of original

pictures with this technique and later taught this medium at Kala Bhavan. (Kumar,

Bhartiya Chapachitra Kala: Aadi se aadhunik kaal tak 67)

Ramendranath, Manindra Bhusan and Biswarup Bose were great experimentalists,

their research attitude towards printmaking created an atmosphere of creative

experimentation. Their aim was to build up a picturesque effect on the graphic surface,

thus most of their prints became more painterly than graphic. This was the turning point

for printmaking in India, as artists no longer related the techniques with their reproductive

values; instead, they are more concerned in creating an art work. (Das, A Brief History of

Printmaking at Santiniketan)

Between 1920-1930, Nandalal Bose and

Binode Behari Mukherjee came up with a different

aim and experimented with various graphic media:

wood-cut, lino-cut, etching, dry-point, lithographs

and non-traditional matrix such as cement blocks.

(Mukhopadhyay and Das, Graphic Art in India: 1850

to 1950 (A Brief Background and History) 8)

In 1924 Nandalal Bose visited China and

Japan, from where he brought an authentic collection

Plate2.9: Binode Behari Mukharjee,
of Chinese rubbings and Japanese colour woodcut Etching

prints. (Das, A Brief History of Printmaking at Santiniketan) Nandalal’s vision easily

adapted the creative possibilities and scope of this medium and he experimented with

various printmaking techniques. In 1930-31, he selected the linoleum block to illustrate

Jain 75

Rabindranath’s book ‘Sahaj Path’, a

Bengali alphabetical book for children. His

black & white lino-cuts had a strong

influence on the young artists. (Das, A

Brief History of Printmaking at

Santiniketan) Plate2.10: Nandalal Bose, Linocut from “Sahaj

Path / Pratham Bhag”
By the late 40’s, however, the printmaking activities in Santiniketan were coming

to an end. Among younger artists working at this time, considered solely printmakers are

Haren Das and Chittaprosad. Haren Das’s work has elaborate texture and detail while

Chittaprosad’s work is inspired by folk art with bold

treatment (Appasamy) and he established himself as a fine

relief printmaker mainly of lino cuts between the mid-

forties and the mid-fifties. (Ray, Printmaking in Bengal: A

Quick Survey 46)

Plate2.12: Chittaprosad, “The

Plate2.11: Haren Das, “Water lily”, Linocut, 1990 Nomads in the City of
Bombay”, Linocut
Besides this, the credit for developing printmaking as a movement of

contemporary art should go to the Society of Contemporary Artists of Calcutta, the

earliest contemporary printmaking workshop in India formed in 1960 by some

likeminded painters and sculptors – Somnath Hore, Ajit Chakravorty, Arun Bose, Deepak
Jain 76

Banerjee, etc. Other members of the workshop were Sanat Kar, Shyamal Dutta Ray,

Suhas Roy, Sailen Mittra and Anil Baran Shah. Arun Bose was the most active member,

learnt the intricacies of printmaking from Atelier 17, Paris. Sanat Kar developed the

method of pulling intaglio prints off matrices made of engraved or cut wood blocks. (Ray,

Printmaking in Bengal: A Quick Survey 46-47)

Before 1964, all the printed pictures for both commercial and fine art purposes

were together titled ‘Graphic art’. But with gradual developments and increasing

popularity of printing among artists, it became a vital necessity to coin a new term to

distinguish between them. So the Print Council of America, in 1964, restricted the

definition of an original print and thus the term ‘Printmaking’ was generally accepted.

(Mukhopadhyay and Das, Graphic Art in India: 1850 to 1950 (A Brief Background and

History 5) In the year 1967, graphic emerged as in independent stream for study in the

course structure. Printmaking as a specialized course in the graduate level was introduced

in India for the very first time. (Das, A Brief History of Printmaking at Santiniketan)

In 1968, Somnath Hore took up the

responsibility of organizing the first full-fledged

printmaking department at Kala Bhavan. The

new generation of printmakers from

Santiniketan worked in a variety of media.

Suranjan Basu’s big sized relief prints from

wood-cut blocks and Nirmalendu Das’s

lithographs are as interesting as Pinaki Barua’s

and Shukla Sen’s intaglio prints. Plate2.13: Suranjan Basu, “Angutha

Chhaap”, Woodcut, 2001
From outside the periphery comes Tapan Ghosh who was trained at Atelier 17 and

made interesting intaglio prints. Tapan Mitra, the only notable artist of the stencil media
Jain 77

was trained in Santiniketan before Somnath Hore had joined the institution. But he

mastered the serigraphy medium all by himself. (Ray, Printmaking in Bengal: A Quick

Survey 48)

Printmaking in Western Region

In Western India, Bombay and Baroda in particular can be described as

synonymous with printmaking at its sophisticated best. (Raman, Printmaking in India:

Focus on the Western Region 50)

Baroda has always been in the forefront in the field of graphic arts in India. The

Faculty of Fine Arts, M.S. University, Baroda was established in 1949-50, where artists

like, Haroon Khimani, Shanti Dave, Jayant Parikh, Vinod Ray Patel, Jyoti Bhatt and G M

Sheikh experimented with various printmaking techniques. They worked on

large prints with single or multiple wood and lino blocks.

Plate2.14: Gulam Mohammed Sheikh, Plate2.15: Jyoti Bhatt, “YK2-09-10”,

“Expelled Angel”, Silkscreen, 1988 Etching, 2010

The Faculty of Fine Arts here has served as a major training ground providing a

permanent and suitably equipped place for printmaking with a sophisticated and highly

trained staff. (Parimoo, Graphic Art in India Since 1850 24) The pioneer was Jyoti Bhatt
Jain 78

who virtually set up the department. With the temperament of an artistically motivated

creative genius and with his technical mastery, he was a trend-setter in the sense that the

prints he made were aesthetically as significant as they were technically sound. Artists

from all over the country go to Baroda for advanced training in different print media.

(Raman, Printmaking in India: Focus on the Western Region 52)

In the fifties, Shanti Dave has

done a great many lino cuts and

woodcuts and was probably the first to

work in large sizes and was fascinated

by the illustrative possibilities of this

medium. (Parimoo, Graphic Art in India

Since 1850 24) Jayant Parikh has Plate2.16: Shanti Dave, “Untitled”, Woodcut, 1978

shown his brilliance in woodcut process and his emphasis was on texture. For making his

prints, he exploited wood, linoleum, hardboard and plywood. Vinod Ray Patel began with

lino-cuts but his output in lithography is considerable. He also made a series of line

engravings using plastic sheets as a substitute for the conventional but expensive metal

plates. (Parimoo, Graphic Art in India Since 1850 25)

Demy Hunt a young American artist, in early 1960s, introduced silkscreen

printing in Baroda. Few years later, Jyoti Bhatt along with artists like Feroze Katpitia, V

S Patel, Vinod Ray Patel and P D Dhumal, put together a silkscreen unit. They all

experimented in this medium in the 70’s with great success. Soon they moved beyond the

basic techniques to explore possibilities of tonal and color gradations. (Bordewekar)

From the mid-1960s to the early 70s, Sheikh, Bhupen Khakhar, Jyoti Bhatt and

several other artists bring out a literary magazine called Kshitij, another one on art and
Jain 79

ideas, called Vrishchik. One issue of Kshitij had a silkscreen-printed cover, tried out

experimentally for the first time.

Till the mid 1960’s black & white

prints were done with limited facilities.

The second half of 60’s and the early 70’s

was a period of accelerated growth,

among which the annual fine arts fair gave

scope to the artists in the creation of

original prints. The involvement of K.G.

Plate2.17: K. G. Subramanyan, “Untitled 02”,
Subramaniayan with his younger Lithograph, 1993

colleagues had been a guiding inspiration. (Panikkar, Printmaking in Western India -

Baroda, Bombay and Ahmedabad 30)

Jyoti Bhatt after his return from the Pratt institute and Tamarind Workshop, USA,

in 1966, learnt and practiced intaglio printing technique, and introduced it in Baroda in

the 1970’s. He even brought with him the elaborate drawings of the presses he worked on

in Tamarind, which were later turned into engineering drawings and an actual etching

press was hammered into place.

Intaglio printing interested several other painters and sculptors in Baroda. Even

lithography was also popular among artists, like Naina Dalal, Kishor Wala and Megan

Parmar. (Parimoo, Graphic Art in India Since 1850 26) Naina Dalal and Jayant Parikh set

up small presses in their homes to work and experiment as they desired. However, the

printmakers of extreme significance from this early era of printmaking at Baroda were,

Laxma Goud, DLN Reddy and Rini Dasgupta Dhumal. (Bordewekar)

In Bombay, Printmaking was introduced in Sir J.J. School of Arts in 1952 under

the guidance of Prof. Yangeswar Kalyanji Shukla, a specialist in etching and engraving
Jain 80

on metal and wood, however it was included in the curriculum as a subject for study

during 1962. During 1969, Prof. Vasant Parab along with Anant Nikam experimented

with viscosity and lino-etching respectively. (Panikkar, Printmakin in Wester India -

Baroda, Bombay and Ahmedabad 35-36)

Plate2.18: Anant Nikam, “Untitled”, Lino Plate2.19: Lalita Lajmi, Etching

Etching, 2009
The graphic workshop at the Sir J.J. School of Art was the only active common

studio in Bombay for the staff and students. Where also professional artists like Prayag

Jha, Lalita Lajmi, Vilas J. Shinde, Jin Sook Shinde, Yogesh Rawal and Tukka Jadav were

involved in printmaking. (Panikkar, Printmaking in Western India - Baroda, Bombay and

Ahmedabad 36) P Mansaram, Pradumna Tana, Himmat Shah, Thakor Patel, Manu Parekh

and Gautam Vaghela were also distinguished printmakers. (Raman, Printmaking in India:

Focus on the Western Region 51)

In Bombay one must mention the establishment of Shilalekh during the mid

nineteen-fifties as a result of the joint efforts of Husain, Ram Kumar and others. The

scheme was to provide workshop facilities and arrangement of pulling out prints in

editions from plates prepared by artists. Since prints are priced more moderately it was

hoped that it would attract more buyers thus serving the dual purpose of proving a means

of livelihood for the artists as well as to popularize their work. Apart from bringing out a
Jain 81

handful of prints this arrangement did not hold for long. (Parimoo, Graphic Art in India

Since 1850 27)

At Ahmedabad, under the guidance of Y. K.

Shukla, a number of talented artists received training

in printmaking at the local college where he taught

after his departure from Sir J.J. School of Art.

Nagpur, Pune and Nasik are among other

centers of Western India where facilities for training Plate2.20: Y. K. Shukla, “Street
Corner”, Etching, 1975
in printmaking exist to some extent but cannot attract talented artists in the absence of

adequate staff and up-to-date equipments.

Printmaking in the Northern Region

The graphic medium began gathering strength in Delhi area from 1965 and by

1970 the medium caught the imagination of a number of senior artists, and even larger

number of young artists. (Krishnan, Graphic Art in India Since 1850 28)

The Delhi Shilpi Chakra which was formed in 1949 held the first all India Graphic

Show in 1965. It was a modest but significant show with only fifty-one works by thirty-

three artists with notable contributions by Jagmohan Chopra, Bhupendra Karia, Manhar

Makwana, Jayant Parikh. R. Vardarajan, Krishna Reddy, Akbar Padamsee Parikh,

Kanwal Krishna, Devayani Krishna and Somnath Hore. This exhibition opened the way

and interested many artists in the

possibilities of the medium.

(Krishnan, Graphic Art in India

Since 1850 28-29)

The real credit for

creating the necessary climate for Plate2.21: Somnath Hore, Wood Engraving IV
Jain 82

the medium in Delhi must, however, go to the excellent graphicist Somnath Hore and

Kanwal Krishna and, more recently, to Jagmohan Chopra. Somnath Hore came to Delhi

in 1958 as the incharge of the graphic section of the Delhi College of Art. He

commissioned an outmoded printing machine laying idle there and set to work. Inspired

by the veteran Krishna Reddy, by the humanism of Kathe Kollwitz, and with sufficient

experience as a wood engraver, he applied himself to metal engraving with tenacity and

devotion and is now acknowledged as one of the most gifted and experienced graphicists.

(Krishnan, Graphic Art in India Since 1850 29)

Kanwal Krishna is also a well known printmaker, had worked at the graphic press

even before he went to Atelier 17. He started with monoprint technique, but gradually

discovered the phenomenal technical range of intaglio printing. This conventional method

did not satisfy his essentially inventive temperament so he left it all behind and resorted

to a combination of relief and intaglio process by building demarcated relief areas with

different levels. With this he employed rollers of varying hardness to achieve results

which combined the best of both the conventional and his own innovated methods.

(Krishnan, Graphic Art in India Since 1850 29) Devyani Krishna, who is an excellent

graphic artist in her own right, relies on similar technical processes as those of Kanwal

Krishna. (Krishnan, Graphic Art in India Since 1850 30)

Jagmohan Chopra, who is the

live-wire of the Delhi graphic world,

owns much to the work of Somnath Hore

who inspired and encouraged him. He,

too, prefers the unconventional technical

processes of paper block or mount-board

plates, engraving the relief, building with

Plate2.22: Jagmohan Chopra, “Composition 1”,
Collograph
Jain 83

additives such as resins, polymers, araldite, etc. He achieved a much vast and varied

range of relief and intaglio surface than is perhaps possible by metal and acid bite. It is

said that it is not so much the plate but the preparation of the plate for the press that

makes the print better. (Krishnan, Graphic Art in India Since 1850 30)

Chopra is also the moving spirit of

the “Group 8” of Delhi formed in 1968, an

association of working printmakers, most

of whom were senior students of the Delhi

College of Art. Already some of these

“Group 8” artists have produced works that

hold considerable promise, such as, Plate2.23: Anupam Sud, “Dialogue I”, Etching
and aquatint printed in black and cream, 1984
Anupam Sood, Yogshakti Chopra and

Lakshmi Dutt. (Krishnan, Graphic Art in India Since 1850 31)

Other artists working in Delhi were Mohammed Yasin of Hyderabad, Zarina,

N.K. Dixit, Bimal Banerjee, Umesh Varma, Jivan Adalji, Gunen Ganguly, Jai Krishna,

Gunen Ganguly, Laxman Pai, Pushpa Rao, Jai, Satish Sharma, Satish Gupta, etc.

Printmaking in the Southern Region

Printmaking in the southern region began during the 50’s at the Govt. School of

Arts and Crafts, Madras and it had an excellent metal working and engraving department.

The earliest prints found were of Devi Prasad Roy Choudhury and K.C.S. Paniker.

Printmaking activities in the school multiplied in 1957 when K.C.S. Paniker

joined as the principal. The school upgraded into a collage in 1963, and started courses in

various printmaking techniques. Under the guidance of master engraver

Kalyanasundaram, number of students practiced printmaking, like: A.S. Jagannathan,

Varadharajan, Akkitham Narayanan, and A. P. Panneerselvam. The first batch of

Jain 84

printmakers passed out in 1968. A. P. Panneerselvam was the first artist from the

Southern Region to win the National Award with a print. (James, Printmaking in the

Southern Region 54-55)

After 1967, collograph prints were being made with a small table press at

Cholamandal by K.R. Hari, K.S. Gopal and Jayapala Panicker, which came to be noted at

important exhibitions between 1972 and 1978. (James, Printmaking in the Southern

Region 54)

In 1973, new printmaking machinery and

equipments were acquired in the department under

the headship of R.B. Bhaskaran. He was the first in

the south to use zinc plates for etching.

Printmaking activities in the south and in the

country has benefited greatly from the visits and

workshops conducted by Paul Lingren of the

Smithsonian Institute., United States. At his

Plate2.24: R. B. Bhaskaran,
workshop in Delhi in 1970, three artists from the “Couple”, Etching, 2009

south participated. They are R.B. Bhaskaran, Arnawas and Vardharajan. Subsequently he

held two workshops at the College of Arts and Crafts, Madras. Many printmakers in the

south trained themselves in intaglio printmaking under his guidance at these workshops.

(James, Printmaking in the Southern Region 55)

Thota Tharani, developed interest in graphics under the instruction from

Panneerselvam and practice at his press. Later, studied at Atelier 17 in Paris under

William Hayter; worked at the Garhi workshop in Delhi and at the Regional Center of the

Lalit Kala Academy Madras. His handling of the medium was innovative. He made free

use of textures and grains using the open bite process, to impose geometrical structure by
Jain 85

sticking acid resistant tapes on the plate and, to cut up the plate and printing varied

combinations of the pieces. (James, Printmaking in the Southern Region 56)

These developed facilities helped to shape young competent printmakers, namely:

Palaniappan, Bhavanishankar, Karunamoorthy, Valsan, Vasudha and P. Mohan.

Printmaking activity in the neighbouring states had much to do with the

Government College of Arts and Crafts, Madras. Three artists from Trivandrum,

Rajappan, Sanathanan and Narayanan Pillai were trained at the college under Bhaskaran,

maintained a full-fledged graphic department at the Government School of Art,

Trivandrum. Hyderabad produced its best printmakers in the sixties, like Laxma Goud,

Devaraj and D.L.N. Reddy. After completing their study at the Government College of

Arts, Hyderabad, they moved to the Faculty of Fine Arts; M.S. University, Baroda for

higher studies. P.S. Chandrasekar, also from Government College of Arts, Hyderabad,

excelled with the litho process. P.T. Reddy, an artist from Andhra Pradesh, contributed

generously to printmaking activity in that state by making available his studio for

collective printmaking by the artists there. (James, Printmaking in the Southern Region

57)

21st Century: Expansion of printmaking

By the end of 20th century

Contemporary Indian art prints came

up as an independent medium of

artistic expression. Bengal artist

Somenath Hore is acknowledged as

the father of modern Indian prints. He

worked and experimented widely with Plate2.25: Krishna Reddy, “Flowers”, Colour
intaglio (Viscosity print), 1960
the medium after receiving preliminary
Jain 86

training from Krishna Reddy; another reputed artist, who involved himself in the intaglio

process while working in the studio of master print-maker William Hayter.

Today India’s famous painters are also eminently creative printmakers who are

responsible for the propagation of printmaking into various techniques mediums and

technologies, and the growing importance and demand for prints in the market. These

include artists like: Amitava Banerjee, Lalu Prasad Shaw, K.G. Subramanyam, K. Laxma

Gaud, Paramjit Singh, Sanat Kar, Jyoti Bhatt, Swapan Kr. Das, Anupam Sud, Shukla Sen

Poddar, Anita Chakravarty, etc. Sanat Kar pioneered wood intaglio, cardboard intaglio

and sun mica engravings and Swapan Das in the multiplicity of color gradations that can

be introduced into a single linocut.

Plate2.26: Sanat Kar, Untitled, Etching, Plate2.27: Swapan Kr. Das, “Vulture”,
2008 Linocut
The development and spread of Printmaking increased during late 20th century

with the setting up of the graphic workshop at Garhi – Lalit Kala Studio, New Delhi; Lalit

Kala Akademi Studios at Lucknow, Calcutta, Madras; Bharat Bhawan Bhopal;

Printstudio and Academy of Fine Arts, Mumbai; Kanoria Centre for Arts, Ahmedabad;

Chaap – Baroda Printmaking Studio; Jawahar Kala Kendra, Jaipur; etc. (Shah)

These workshops made an effort to create and promote wider appreciation of

original prints and different printmaking techniques. They all have well established

infrastructure and facilities for various techniques, providing opportunities to artists and
Jain 87

students to work in different printmaking media and are frequently visited by many senior

and international artists.

Rajasthan also witnesses a major change in the creative activities and artists

started taking interest in Graphic art. The decade of 1970s can be assumed as the

beginning of artistic printing in Rajasthan and printmaking emerged as a new medium

with immense possibilities for experimentation and artists started accepting it as a new

mode of expression. However, this development of artistic printing was quite late as

compared to other parts of the country. But within few years of time, various printmaking

materials, machines and other accessories were imported and studios and workshops were

set-up in the state at Banasthali Vidhyapeeth, Udaipur university, Rajasthan School of

Arts, Jawahar Kala Kendra, Takhman 28, etc. to promote printmaking in Rajasthan.

Now prints enjoy an elevated status, over those of the 19 th century. Now they are

being drawn, cut and in most cases printed by the individual artist in very limited

editions. These artist created prints are regarded as belonging to the Fine Art’s family,

each being viewed nearly equal in importance as a painting or sculpture for artistic

expression.
Jain 88

REFERENCES

Appasamy, Jaya. "Contemporary Graphics in India." Graphic Art in India Since 1850.

New Delhi: Lalit Kala Akademi, 1985. 22. Print.

Bordewekar, Sandhya. "Vignettes from History: The early years of printmaking in

Baroda." Artetc. News & Views August 2011. 27 November 2012.

<http://www.artnewsnviews.com/view-article.php?article=vignettes-from-

history&iid=23&articleid=594>.

Bordewekar, Sandhya. "Vignettes from History: The early years of printmaking in

Baroda." Artetc. News & Views August 2011. 27 November 2012.

<http://www.artnewsnviews.com/view-article.php?article=vignettes-from-

history&iid=23&articleid=594>.