Sunil Madhav Sen (1910-1979) was a modern artist whose art echoed the soil, people and spirit of Rarh Bengal. Though he studied law, his heart belonged to colors. Leaving behind a legal career, he turned to canvas, shaping a visual language that drew from the red soil of his childhood, the rhythms of tribal life and the quiet dignity of everyday moments.
Self Portrait of Sunil Madhav Sen
His paintings often reflected village life, tribal figures, mythology and the socio-political realities of the contemporary era, including the Quit India movement and Bengal Famine.
If we want to talk about the artistic style of Sunil Madhav Sen, we must mention that through a series of careful experiments, he transformed not only his artistic style but also his use of materials. He explored oil paints in an unconventional manner - applying a thin, refined layer of oil paint on paper, then soaking the sheet in a turpentine and zinc solution for a day or two. After the paper dried completely, he would begin painting over it. This unique process gave his oil painting an ethereal softness and fluid transparency, much like watercolors. One striking example of this technique is his work “Two Girls Husking”.
Untitled (Girl with a Doll), Mixed Media on Paper, Sunil Madhav Sen
Between 1946 to 1949, Sunil Madhav Sen wandered across India, seeking to shape a language of his own through art. As he encountered the country’s diverse landscape, traditions, and timeless beauty, his vision deepened. His brush captured not just form, but the cultural essence of India. He would rush to visit exhibitions the moment he heard of them, driven by an unquenchable hunger to observe and absorb. Because he was deeply influenced by the words of Rabindranath Tagore, who once stated,
Those (Rabindranath’s paintings) mark the future course of modern art. If you absorb their spirit, reinterpret them in your own way, and keep painting with sincerity, your path will unfold on its own. (translated from Prasanta Daw’s “Sunil Madhav Sen-er Rooplok”, page 22)
In 1949, Sunil Madhav Sen attended a “Calcutta Group” exhibition held at Artistry House, where he met the famous sculptor and one of the members of the Calcutta Group, Prodosh Dasgupta.
Paintings Found in Sunil Madhav Sen's House in Kolkata (Picture Clicked from Sunil Madhav Sen's House)
Even he invited Prodosh Dasgupta to visit his house on Hindustan Park Road. After visiting Sunil Madhav Sen’s house, Prodosh Dasgupta was extremely impressed by this self-taught artist. In his book “Smritikatha Shilpakatha”, Prodosh Dasgupta mentioned,
I have seen the paintings. They were somewhat diverse, but there was an undeniable strength in the drawing. What appealed to us most was his untrained yet skilled craftsmanship, which we believed would lead him far with his own individual expression. We invited him to become a part of our group. In 1951, Sunil Babu was selected as a member of the Calcutta Group” (Smritikatha Shilpakatha : Prodosh Dasgupta, Pratikshan Publication Pvt. Ltd. October 3, 1986).
In this context, Sunil Madav Sen’s illustrations in Hemchandra Bhattacharya’s translated version of the Valmiki Ramayana can be mentioned. The illustrations done by the artist, in perfect harmony with the theme, are undoubtedly explanatory through imagery and add to the overall aesthetic appeal.
Ram and Ravana on Chariot, Mixed Media on Board, Sunil Madhav Sen
Between 1910 and 1943, as the world reeled from wars and transformations, a new wave of thought swept across continents. In colonized nations like India, European modernist movements such as Impressionism, Surrealism and Cubism began to take root, inspiring a fresh artistic and intellectual awakening. These radical ideas deeply impacted creative minds under colonial rule. The Calcutta Group - India’s pioneering modernist art collective - emerged as a reflection of this evolving consciousness. Sculptor Prodosh Dasgupta, in his “Smritikatha Shihlpakatha” captures the spirit and journey of this group to some extent, placing it within the broader tide of global artistic ferment. While talking about the Calcutta Group, Prodosh Dasgupta mentions here that over the past few years, various foreign influences had entered the artistic field and the artists of the contemporary time should embrace these new thoughts to remain relevant. The Calcutta Group embodied this vision by blending modern techniques with socially conscious expressions and turned art into the “creative interpretation of life and reality.”
Untitled (Return from Market), Line Drawing with Wash, Sunil Madhav Sen
For Sunil Madhav Sen, becoming part of the Calcutta Group was not just an association; it was a turning point that helped to define his artistic identity. While his deep connection to Rural Bengal shaped the soul of his work, it was within the collective vision of the Calcutta Group that his ideas found a larger platform. The Calcutta Group’s openness to experimentation and global modernist influences gave Sunil Madhav Sen the space to evolve beyond the boundaries of the personal and step into a broader artistic conversation. So, we can say that this collaboration of Sunil Madhav Sen and the Calcutta Group was essential in shaping both his legacy and the modern art movement in India.
REFERENCE
Sunil Madhav Sen er Rooplok, Prasanta Daw, Bharbi Prakashani (সুনীল মাধব সেনের রূপলোক - প্রশান্ত দাঁ)
