This particular work, titled WOUNDS-104, being a very explicit depiction of Hore’s 'Wounds' gives one an insight into the artistic process.The work’s base layer is an etching dated in Bengali as 1972. There is a faint signature to the left that reads SO(mnath), followed by an eight in Bengali. Hence this piece seems to have been worked on by the artist for over a decade- the 70s and 80s, suggesting that masterpieces are indeed not made overnight.
Somnath Hore was not one to paint the blue of the skies, the glitter of the sands, or the green of the whispering trees, but the helplessness of the trembling hand attached to an emaciated body collapsed on the floor. In Somnath’s vision, it is the spectacle of man’s suffering that steals the show.
Somnath Hore was born in 1921 in Chittagong studied at the Government College of Art in Calcutta. He witnessed the chain of devastation left by the Japanese bombing raid on Chittagong which was followed by a man made famine in 1943. Such suffering deeply impacted Hore and led him to outpour in sketches and poster drawing, which documented the devastation.
In simple terms, a print is created where ink is transferred from a block or plate on to a paper. Depending on the technique used, there are different outcomes and as a result, they have been further divided into categories. Each printing technique has its own distinctive style depending on the tools and materials used.
Born in 1921 in Chittagong, undivided India, Somnath Hore studied at the Government Art College in Calcutta. His works represent the turbulent lives at the time of the Bengal Famine of 1943. His pictorial language in his sketches, sculptures, and prints is a reaction to one of the major crises that hit Bengal in the 20th century.
Born in 1921 in Chittagong, undivided India, Somnath Hore studied at the Government Art College in Calcutta. His works represent the turbulent lives at the time of the Bengal Famine of 1943. His pictorial language in his sketches, sculptures, and prints is a reaction to one of the major crises’ that hit Bengal in the 20th century.
Somnath Hore’s art practice was western and academic in style. He was interested in humanist themes, and his works often involved the world of painting and printmaking with sculptural, textural prints that resonated with his feelings of anger and pain. His subject matter drew attention to the life of people in Bengal; the impoverished and suffering social class represented the pain caused by the Famine of 1943.
Somnath Hore was one of the most prominent political artist and activist of post-independence India. His affiliation with the Communist Party at an early age strongly influenced his artistic ideologies and methods of art practice. However, his career as a student of art and later as an art practitioner was unlike his contemporaries.
Studies related to anatomy, animals, carcasses. skulls have been integral part of art since time immemorial. Somnath Hore's Meatwallah is an exceptionally rare and important canvas of a similar genre. Similar works by other artists include.
"Man's history is waiting in patience for the triumph of the insulted man,Triumph he had, but at a terrible price. With the subcontinent at war, and the new-born land still wracked by bone-shattering poverty, the joy in Bangladesh was necessarily tempered by sorrow.” - Rabindranath Tagore)