Nandalal had a strong affinity for sketching, his subjects being the surrounding environs, people in their everyday life or anything that he found fascinating. In this sketch, he has depicted a man plastering the wall executed in fluid, thick strokes of ink in calligraphic style. The use of linear and dark strokes to attain depth and texture, adds rhythm and life in the composition. This album of 17 works mostly consists of figurative sketches of people and animals study in pen and ink. Their myriad poses and postures not only serve as templates for Nandalal's sketching routines but allow him to make visual records of events, both everyday and historic. In his book 'On Art', he writes, "An oriental artist need not start with a painstaking labour of acquiring anatomical knowledge. For him, an understanding of the life-movement shall suffice as a beginning. He can well express his ideas on that basis. With progress in observation and study, his compositions are enriched with details. The principal life-movement in his drawing should never be lost or obscured in a temptation to lay stress on details of form and features." This sketch was signed 'Nanda' in Bengali and dated '13.11.1955' in English along the lower margin of the sketch. There are inscriptions in English and Bengali that can be read as,'48/4 Manohar Pukur Road, Calcutta,' and another can be translated as, 'plastering the wall' respectively.
- Identifier
- ngma-09320
- Material
- Pen, Ink, Postcard
- Note
- Nandalal Bose, popularly known as the Master Moshai, was born on December 3rd, 1882 in Kharagpur, Monghyr District, Bihar. A disciple of Abanindranath Tagore, he graduated from Government School of Art, Calcutta in 1910. Nandalal was fascinated by the potential of folk art and indigenous modes of expression and inculcated them in his works although stylising them in a unique representation for depiction and narration of local life. His explorative temperament with the artistic materials allowed him to create a vast body of work with printmaking techniques as lithography, linoleum prints and Sino- Japanese techniques while remaining faithful to his narrative subject: India's environment and its ethos. Nandalal Bose's art conjures newness unbound but still flushed with the memories of yesterday. Inspired by Far Eastern sensibilities that celebrate the traditional, the genius of his art's lies in the interplay of sensual silhouettes and his powerful rendering of contemporary themes with the traditions, customs and sensibilities of Indian heritage. It is this intermingling that invigorates his works and captures the minds of his viewers. He began his artistic career in the fervour of Swadeshi movement, rejecting western colonial norms of art and taking inspirations from the ancient murals of Ajanta and Bagh caves as well as Mughal miniatures. In 1919, Nandalal Bose accepted Rabindranath Tagore's invitation to become the Principal of the newly established art school Kala Bhavan at Visvabharati University in Santiniketan. He travelled in and out of India including places like Burma, China, Japan, Malaysia, Java and Sri Lanka seeking artistic stimulus from observing different cultural traditions. He also painted a series of posters for the Indian National Congress at Haripura in February 1938. The range of Nandalal's artistic expressions is seen in his various landscapes with human figures, his varied images of nature and the Santiniketan Murals. His works reflect the changing landscape, portraying people and places at a time when modern India's cultural development was at its threshold. Nandalal Bose died on April 16th, 1966 in Santiniketan, West Bengal. He won several accolades including the Padma Vibhushan by the President of India in 1953. He was awarded with an honorary Doctorate in Letters (D. Litt.) from Banaras Hindu University in 1950 and Calcutta University in 1957. The NGMA has over 6800 of his works in his collection.
- Pages
- 8.8 X 14 cm
- Published in
- India
- Type
- Painting
