In the blossoming of modern Indian painting, among those nurtured under the tutelage of the revered master Abanindranath Tagore, Nandalal Bose emerged as the foremost figure and a trailblazer. He devoted his entire life to the serene practice of restraint, patience and unwavering dedication to the pursuit of art.
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This timeline traces the life and work of Francis Newton Souza (1924–2002), mapping the personal losses, political upheavals, and artistic milestones that shaped one of modern India’s most radical and uncompromising painters. Born in colonial Goa and raised between Bombay and Saligao, Souza’s early years were marked by rebellion—against convention, religious orthodoxy, and artistic mediocrity.
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I have generally seen her (Lady Ranu Mookerjee) become active by relying on the Academy since 1950. Lady Ranu was then a member of the Sahitya Chakra 'Rabibasar’, At that time, she also held the position of the president of the Academy of Fine Arts.
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Various organizations have been working for the advancement of art. From the pages of history, we learn that the first such organization in Calcutta was founded in 1830, named the Brush Club. At that time Prince Dwarakanath Tagore was at the forefront among several Indian and British entrepreneurs. Its lifespan was short. Over time, many organizations were established one after another, but with short lifespans. The Indian Society of Oriental Art founded in 1907, is the only one that remains active to this day. In recent time, one of the active institutions of this kind is Prinseps.
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This academic exploration serves as an archive, offering a testament to the sought-after portraiture skills artist Atul Bose. Through a collection of newspaper cuttings, we delve into the intersection of artistry and history, with each article representing a chapter in the narrative of this renowned portrait artist. These cuttings, meticulously preserved, provide valuable insights into the recognition and praise garnered by Atul Bose's creations over time, as they secured their esteemed place within museums and government institutes.
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Today, my mind drifts back to the evocative days of the 1930s. My journey through Art School was still unfinished in those days, with lessons yet to unfold. During those days, a small circle of us artist-friends would often set out together, sketchpads in hands, to capture the world outdoors through sketching once classes were over.
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Atul Bose, a celebrated Indian artist renowned for his exceptional portraiture, received his training at Calcutta’s State College of Arts and Crafts and later became its Director. He secured a scholarship to study art at London’s Royal Academy of Arts, where he drew inspiration from English post-Impressionist Walter Sickert, evident in his later works characterised by subtle grey and brown tones.
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This would be an important never-before-seen exhibition exploring six decades of Modernism in Indian art and avant-garde art on the blockchain.
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The Principal of the Government Art School, Mr. Percy Brown was scheduled to retire in1928. There were still two years left until the retirement of the Vice Principal Mr. J.P. Ganguly ( Jamini Prakash Gangooly) and he was owed two years of leave. It was heard then that artist Mukul Dey would be appointed as the principal of the Government Art School soon. At that time, Mr.T.A. Achary was serving as the headmaster and Nandalal Roy Choudhury was the head clerk of Arts School and the superintendent of the contemporary Student’s Hostel which was situated on the Corporation Street and he used to live in that hostel.
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These posters by Nandalal Bose - made using tempera on handmade paper, were created around 1938 and were commissioned by Mahatma Gandhi. These belong to the permanent collection of the NGMA and were displayed at the India Pavilion in Venice Biennale. We do believe that this is the first time these have seen these for display outside the NGMA.
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