There was a time when Amal Chandra Home Ray, known to peers as simply Amal Home, was a name familiar to Bengal’s cultural, literary, and political elite. Described by writer Nirad C. Chaudhuri as a “showman, an impresario,”[1] Amal was an elegant, erudite, complex figure whose legacy today lives on in scattered memories, faded photographs, and the quiet efforts of his daughter, Amalina Dutta, to restore him to public memory.
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Hailed as the father of modern Chinese painting, Xu Beihong’s vast oeuvre reflects a rich confluence of cultural influences absorbed during his travels. Among these sojourns, Xu’s spirit of cultural fusion found new ground in 1939, when he was appointed the first Chinese visiting professor at Rabindranath Tagore’s Visva-Bharati University in Santiniketan, West Bengal.
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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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The third chapter in the multi-part auction series of the Estate of Sir Mangaldas Nathubhai turns to the shelves of his Girgaum and Malabar Hill homes — the quiet centre of a cultivated Bombay life. Known to the city as a philanthropist and reformer, Sir Mangaldas was also a deliberate collector — one who read about what he acquired. His library was a place of study as much as of leisure: Hamlet beside The Grammar of Ornament, scripture beside travelogues, manuals of craft beside memoirs of empire.
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Among the many treasures preserved in the Sir Mangaldas Nathubhai family collection is a slim, timeworn album belonging to his great-granddaughter Meenal. Its pages, still intact after a century, neatly inscribed with signatures and photographs, carry the imprints of cricketing legends from the early decades of the twentieth century.
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Tucked away from the bustle of colonial Kolkata, Bolpur’s red-earth landscape became home to Santiniketan in 1863, when Maharshi Devendranath Tagore purchased the land and established a spiritual retreat he named the “Abode of Peace.”
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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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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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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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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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