Journal of Advance in Social Science and Humanities ISSN: 2395-6542

CrossRef DOI: http://dx.doi.org/10.15520/jassh35217.

Printmaking History, A Survey Techniques and Artists

Kaumudi Prajapati

Research Scholar Panjab University, Chandigarh.

Accepted 2017-05-12; Published 2017-06-05

A
bstract: In this paper, the brief survey of the history of printmaking -beginning of printing in India
and its further development as an artistic medium is discussed. The printmaking is the term used
for the process of creating prints, in fact printed pictures by the artists. Relatively a new medium
compared to painting or sculpture, printmaking has gone through many changes in the course of
time. Including various techniques, processes, materials and equipment it is mainly divided in three types-
Relief prints, Intaglio and planography depending on the way the matrix or the surface is prepared and prints
are taken from it.

Key Words: Print, Woodcut, Etching, Intaglio, Lithography, Screen Printing, Printmaker, Indian Art,
Technique.

Introduction

In India it was only by the late 19th and beginning printed by Johann Gutenberg in Germany in 1450.
of the 20th century that printmaking as distinct from Portuguese missionaries of Goa used blocks made
printing begins to emerge. In India, the history of in wood engraving and use relief printing
printing is quite long, but printmaking’s history as technique. The block printed in the year 1561
a fine art is not more than a century old. In India, serves as the first or earliest evidence of printing in
what we know as artists, prints is in fact a recent India.1
phenomenon. What we call as modern printmaking Contemporary Indian printmaking
began in India just about four decades ago. Printing Firstly, artists like Nandlal Bose and
reached in India in 1556. Two Jesuit missionaries Gaganendranath Tagore started using printmaking
set up two presses in Goa for religious propaganda. for its own sake, and not as a means to reproduce.
This was almost hundred years after the moveable This can be considered as beginning of modern
type face die and matrix invented and Bible was Indian printmaking.2The renowned printmaker,

1 2
Das, Nirmalendu: The Early Indian Printmakers. An Guha Thakurta, Tapati, The Making of New Indian Art,
Approach to Social Science Ethnical and Technical Study, Cambridge University Press, Cambridge, 1992.
Lalit Kala Contemporary No. 39, Delhi.
Kaumudi Prajapati. Printmaking History, A Survey Techniques and Artists

Mukul Dey became Principal of Art School in Somnath Hore consciously decided to adopt
1928. From here, the graphic arts began to got printmaking as his medium of choice. He wanted to
attention. Ramendranath Chakravarty, a reputed use the medium to achieve an end. He used burin
3
printmaker joined the school after him. and acid as his tools, his weapons against
In 1915, Bichitra Club was formalized by destruction, socially incorrect things. His concept
Tagores, reproduction prints of paintings, of wounds took him to the height of expression in
magazines, sets of reprints were sold here. the medium. The sense of purpose and his passion
Gaganedranath Tagore had realized the to explore was new in Indian printmaking. For the
potential of the medium as an instrument to protest first time this medium was chosen to fulfill
and exploited it within the limited technological aesthetic goals, this was a new, revolutionary way
scope.His first cartoon album of colour lithographs to use the medium. Hore left Delhi in 1966 and
“Adbhut Lok” came in 1917.Mukul Chandra Dey joined Kala Bhavana in Santiniketan in 1969. Here
published album of his etchings and drypoints he kept experimenting and finally created his
comprising portraits and landscapes. He can be white-on-white pulp prints, showing culmination
considered as India’s first printmaker who revealed of his journey as a printmaker. He took printmaking
that it is possible to use graphic medium for artistic to its limits. He created cement matrixes to pour rag
expression. He was among the first to use pulp into its contours, pressed and dried, later it
printmaking as a mean to creatively express and his served as a print. This technical innovation,
efforts prove to be a milestone in the history of experimentation with medium and materials
Indian printmaking. created wounds directly on the paper. Before him,
In Kalabhavan, in 1923-24, graphic arts imagery was not used in printmaking. His new
were included in the curriculum. Nandlal Bose and approach liberated printmaking from the prevailing
his students, Ramendranath Chakravarty, technological limitations. He can be truly called as
Manindra Gupta, Bisvarup Bose showed intense the artist printmaker.
interest in Creative printmaking which developed Kanwal Krishna, after completing his
in Kalabhavan in the early years. studies in Calcutta, went to Paris to learn
But the emergence of printmaking came in techniques of etching, engraving, and viscocity
1950s when nation, after independence, was printing at S.W. Hayter’s Atelier 17. He stayed for
struggling to create a modern identity. At the top three months there in 1953. After coming back to
were the artists such as Somanth Hore, Jagmohan India, he bought an etching press and began with
Chopra and Kanwal Krishna. experimenting in collography medium at Delhi. In

3
Sengupta, Paula, The Printed Picture, Four Centuries of
Indian Printmaking, Delhi Art Gallery, New Delhi, 2012.

Journal of Advances in Social Science and Humanities, Vol. 3, Issue. 5, May 2017 35057
Kaumudi Prajapati. Printmaking History, A Survey Techniques and Artists

this technique, many colours were printed from a various possibilities in the area of colour
single plate. Members of Delhi Shilpi Chakra and printmaking. He showed the way to Indian
many other artists learnt this process from him. His printmakers to look at printmaking s the means to
works reflect peace and tranquility. His achieve an end, a tool to reach towards a goal
contribution in the development of printmaking in aesthetic and not only technical.6
India is notable though he discontinued with the Renowned printmaker, Jagmohan Chopra
medium by 1960. He played a major role in the is well known for improving and making
establishment of Garhi printmaking studios.4 printmaking popular in India. He is best known as
Famous printmaker, Krishna Reddy a dedicated teacher who was always open to
pursued his studies from Santiniketan, than he experiments and new techniques. He came after
settled abroad but frequently visits India. He Somnath Hore at the college of Art, New Delhi and
exhibits, runs workshops, interacts with teachers improved and modernized the printmaking studio
and students and is active as a printmaker. He there. Later, he went to Chandigarh as Principal of
developed viscosity technique alongwith S.W. Government College of Arts where he created
Hayter at Atteliar 17 where he worked for many printmaking department equipped with materials,
years. He taught this technique to many Indian machinery, infrastructure and facilities.7
artists in 1960s and 70s and this remains as a He introduced collograph medium as a
popular technique in India.5 He has a kind of substitute and searched for new possibilities. His
spiritual approach to the process which he uses to work dealt with form and composition – abstract
execute his works. Inks, rollers of different types, imagery with some forms and play with medium
relief sculptural surface all show his view where and materials.8
nature, art and life all come together and create a Graphic art was included in curriculum at JJ
world. His technical knowledge, his abstract School of Art Bombay in 1952. Unfortunately,
imagery as well as his philosophy about his work – there was no common studio for printmaking in the
all have attracted Indian printmakers. In 1950s and city and even today, the situation has not changed.
60s, when most of Indian art showed narrative NB Joglekar shifted from Bombay to Baroda and
trends, Krishna Reddy’s work was very much played a major role in setting up the graphics
different. He opened up the avenues in technology section at the Faculty of Fine Arts at MS University
which were not explored till than and showed in 1950. Joglekar, Jyoti Bhatt and others were

4 6
Art India – The Art News Magazine of India, Printmaking, Krishna Reddy – A View from India, Krishna Reddy – A
VXI, Issue I, Quarter 1, Art India Publishing Co. Mumbai, Retrospective, The Widener Gallery, 1998.
7
2006. Jagmohan Chopra, Catalogue of retrospective exhibition in
5
Krishna Readdy – A View from India, Krishana Reddy – A 2002 by AIFACS Art Gallery.
8
Retrospective, The Widener Gallery, 1998. Jagmohan Chopra, Catalogue of retrospective exhibition in
2002 by AIFACS Art Gallery.

Journal of Advances in Social Science and Humanities, Vol. 3, Issue. 5, May 2017 35058
Kaumudi Prajapati. Printmaking History, A Survey Techniques and Artists

actively engaged in printmaking activities in 1960s style where he combined decorative with
and 70s. Faculty came up with annual art fair where figurative, images with words. He explored the
students and teachers actively made prints and medium to create a new multicultural language. PD
published them. Kala Bhavana in Santiniketan also Dhumal developed the printmaking department in
started with annual fair, named ‘Nandan Mela’ in Faculty of Fine Arts in Baroda with others. Many
late 1960s where graphics department contributes printmakers came out from here who developed
with the books, portfolios of prints, calendars, post modernist languages in printmaking. Rini
cards by teachers and students printed and Dhumal is considered as a printmaker with a
9
published annually. painterly approach. She explored lithography and
Jyoti Bhatt, Vinod Ray Patel, VS Patel, PD viscosity mediums, multicoloured prints Outside
Dhumal, Rini Dhumal, Jayanti Rabadia, Vijay the institution, Chhap, founded by Kavita Shah,
Bagodi, Naina Dalal, Jayant Parikh were active Jyoti Bhatt, Vijay Bagodi and others in 1999 is
printmakers in Baroda, from the 1970s. They payed active with their printmaking initiatives. Kanoria
attention to innovative processes, including centre for Arts in Ahmedabad has a printmaking
serigraph and photo processes. For most of them, studio which gives scholarships and studio
medium was more phocused while Jyoti Bhatt facilities to young artists since 1987. Walter
combined his pictorial sensibility with rich visual D’Souza was instrumental in its development who
vocabulary and used printmaking as a means. The himself is reputed printmaker working in
forms and compositions he created comment on Ahmedabad.11
life, society.10 Printmakers like Siddhartha Ghosh
Jyoti Bhatt, along with Shanti Dave, studied emerged in Kalabhavana, Santiniketan, initiative
first at Baroda before going to Naples, Italy and taken up by Somnath Hore were continued
New York in 1961-66. He learn Intaglio and colour enthusiastically by Sanat Kar and Lalu Prasad
printing there. He learnt serigraphy in 1972 and Shaw who had joined there as faculty in Graphic
incorporated it in his works. His keen interest in arts. Sanat Kar is known as an innovative
photography and use of this technique in his art printmaker.
added a new flavor to printmaking. He created Lalu Prasad Shaw practiced intaglio
unique and different avenues and gave way to open printing and lithography and had developed semi
up to upcoming printmakers. He started with abstract language. In Santiniketan, ‘The Realists’
painterly style and then developed an indigenous group actively worked from 1985 and had some

9 11
Indian printmaking Today – Jehangir Art Gallery, Mumbai, Sheikh, Gulam Mohammed , ed. Contemporary Art in
1985. Baroda, Tulika Art Gallery, New Delhi, 1997.
10
Sheikh, Gulam Mohammed, ed. Contemporary Art in
Baroda, Tulika Art Gallery, New Delhi, 1997.

Journal of Advances in Social Science and Humanities, Vol. 3, Issue. 5, May 2017 35059
Kaumudi Prajapati. Printmaking History, A Survey Techniques and Artists

serious printmakers such as Nirmalendu Das, Garhi Studios, regional centre of Lalit Kala
Pinaki Barua, Suranjan Basu, and Sushanta Guha. Akademi. This printmaking proved to be an active
Among them, Pinaki Barua and Suranjan Basu place and important factor in the development of
came up as promising printmakers. Pinaki Barua printmaking in India, in the early 90s. Some of the
developed monochromatic, detailed language artists who worked have formed the ‘Indian
showing his concern for victims and poor people. Printmakers Guild’ to spread awareness about
His preferred medium is etching. Suranjan Basu printmaking medium. Members were Anandmoy
used the relief process, figurative compositions Banerjee, Bula Bhattacharaya, Dattatreya Apte,
12
with fury. Jayant Gajera, Kavita Nayar, K.R. Subanna,
Jagmohan Chopra with Anupam Sud, Kanchan Chander, Moti Zharotia, Sukla Sawant,
Jagdish Dey, Prashant Vichitra, Paramjit Singh, Sushanta Guha, Sukhwinder Singh and Subba
Kishan Ahuja, Lakshmi Dutta and others formed Ghosh. Many of them continue as printmaker
‘Group 8’ in New Delhi in 1968. This group set up individually now.14
a studio at Shankar market and organized national In the Government School of Arts and
print exhibitions in 1990s. From here, Anupam Sud Crafts, Madras, printmaking was included in the
came up as a significant printmaker in 1980s. She curriculum in 1960s. Pareer Selvanm, R.B.
learnt photo process in Intaglio printing at the Slade Bhaskaran, Dakshinamoorthy were active
School of Art, London in 1969. Her work is mainly printmakers through 60s and 70s. Paneer Selvam
figurative men and women, urban situations had studied printmaking under Somnath Hore first
depicted with graphic application, technical effects and that at Ateliar 17 in Paris. In 1970, he came
used to show developed thought process. She is one back to Madras and practiced there. R.B.
of the pioneers and her tenure as a faculty at Bhaskaran learnt printmaking in Israel and London.
printmaking department at college of Art, Delhi has He became incharge of regional centre of Lalit kala
proved beneficial to generations of students.13 Akademi in Madras in 1982. With R. Palaniappan,
Anupam Sud, Jai Zharotta and Jagdish Dey he established graphic studio. He used images of
contributed to College of Art, New Delhi. Zharotta cats, couple and abstract concepts too are
was the one focused on serigraphy medium. He had incorporated in his prints. In 1970s, abstract
a painterly approach to the medium. The college of printmaking emerged with Thota Tharani,
Art, New Delhi produced many printmakers at the Akkitham Naryana, and V.Viswanadhan. R.
turn of the century. Most of them worked at the Palaniappan is a reputed printmaker; he came up as

12 14
As seen from his works and talks with him when I was a Malik Keshav, Four Women Artists, Art Heritage, New
student at Kalabhavana, Visvabharti University in 1997-98. Delhi, 1988, 89.
13
Anupam Sud, A Retrospective Exhibition Catalogue,
AIFACS, New Delhi.

Journal of Advances in Social Science and Humanities, Vol. 3, Issue. 5, May 2017 35060
Kaumudi Prajapati. Printmaking History, A Survey Techniques and Artists

a craftsman who used the medium for desired single sheet display prints to a means of individual
effects. Architecture, flight, movements, numbers expression by artists for aesthetic purpose and also
are depicted in his prints with flawless its use as a mass medium. As seen, in the
understanding and intense involvement. 1970s saw years following Indian Independence,
P. Gauri Shankar, Devraj Dakaji, K. Laxma Goud contemporary printmaking evolved.
and DLN Reddy as practicing prominent
printmakers in Hyderabad. The latter three set up a Acknowledgement: Department of Art History
press there. Gaurishankar used viscocity technique and Visual Arts, Panjab University, Chandigarh.
for his etchings and collographs. Landscape forms
are used in his prints. Devraj Dakoji came to Delhi
and was incharge of printmaking department from References
1977 at Garhi studios. A significant printmaker, he 1. Das, Nirmalendu: The Early Indian Printmakers. An
Approach to Social Science Ethnical and Technical Study,
practisesd mezzotint technique. DLN Reddy and K
Lalit Kala Contemporary No. 39, Delhi.
Laxma Goud used figures in their prints. Delicately
2. Guha Thakurta, Tapati, The Making of New Indian Art,
executed aquatints and etchings with erotic Cambridge University Press, Cambridge, 1992.
imagery by Laxma Goud place him among the 3. Sengupta, Paula, The Printed Picture, Four Centuries of
modernist printmakers. He depicts nature in detail Indian Printmaking, Delhi Art Gallery, New Delhi, 2012.
4. Art India – The Art News Magazine of India, Printmaking,
alongwith human figures and his use of positive
VXI, Issue I, Quarter 1, Art India Publishing Co. Mumbai,
and negative space is superb.
2006.
5. Krishna Reddy – A View from India, Krishna Reddy – A
Conclusion: Retrospective, The Widener Gallery, 1998.
In the beginning of the 20th century, 6. Jagmohan Chopra, Catalogue of retrospective exhibition in
2002 by AIFACS Art Gallery.
printmaking emerged as an independent art form,
7. Indian printmaking Today – Jehangir Art Gallery, Mumbai,
which has its own aesthetic possibilities. Before
1985.
this, the distinction between painting and 8. Sheikh, Gulam Mohammed, ed. Contemporary Art in
printmaking was not clear. Almost a century passed Baroda, Tulika Art Gallery, New Delhi, 1997.
to see printmaking as a separate medium. Than it 9. As seen from his works and talks with him when I was a
student at Kalabhavana, Visvabharti University in 1997-98.
took another fifty years to spot or hear about
10. Anupam Sud, Retrospective Exhibition Catalogue,
printmakers separate from the painters or sculptors.
AIFACS, New Delhi.
Transition in printmaking medium can be 11. Malik Keshav, Four Women Artists, Art Heritage, New
seen from colonial times from book illustration, Delhi, 1988, 89.

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