Xu Beihong, Jamini Roy, and a Possible Crossroad of Indian & Chinese Modernism The title of this note requires some explanation. Xu Beihong (Ju Peon) is widely regarded as the father of Chinese Modernism, while Jamini Roy is known as the father of Indian Modernism. (12) The works under discussion come from the estate of Jamini Roy, yet are believed to be by Xu Beihong, hence the framing as a “Tale of Two Fathers.”
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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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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.
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A rare catalogue raisonné of Bhanu Athaiya’s fine art and formative years at the J.J. School of Art—spotlighting the only woman in the Progressive Artists’ Group, who redefined her artistic journey through costume design and became India’s first Oscar winner.
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In the ever-evolving landscape of modern Indian art, few names evoke the quiet strength and earthy lyricism of rural Bengal like Sunil Madhav Sen (1910-1979). A pioneer who chose brush over gravel, Sunil Madhav Sen’s journey from Law to the heart of India’s modernist movement is a testament to the power of personal calling.
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The 1940s were a decade of political urgency and artistic transformation in India—especially in Bombay, where anti-colonial movements, Marxist cultural activism, and encounters with European émigrés sparked a radical new visual language. As the Quit India Movement mobilized students and artists alike, figures like P.C. Joshi and Mulk Raj Anand rallied for an art that was politically engaged and socially conscious. The Progressive Writers’ Association, the Calcutta Group, and the Indian People’s Theatre Association (IPTA) all shaped a cultural climate where art and resistance were deeply intertwined.
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A Timeline of His Life, Art, and Legacy // 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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Sunil Madhav Sen (1910-1979) was an artist whose work reflected an abiding intimacy with the land and ethos of Rural Bengal. Quietly perceptive and inwardly alert, he drew inspiration from the textured rhythms of village life and the unadorned poetry of everyday moments. Rather than seeking recognition, he remained committed to authenticity - shaping a visual language that was contemplative, grounded and steeped in lived memory.
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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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Sunil Madhav Sen (1910-1979) was a pioneering modernist painter from Bengal, known for blending together rural sensibilities with avant-garde techniques. He was born in Purulia, a region that lies within the Rarh Bengal, which is mainly known for its red soil, rich cultural heritage, folk tradition and art. Sunil Madhav Sen’s roots in this culturally vibrant and geographically unique land played a significant role in shaping his artistic sensibilities.
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