Chittaprosad’s body of work was a visceral response to the pain and turmoil around him in mid-20th century India. His oeuvre echoes Nina Simone’s rhetorical question: How can you be an artist and not reflect the times? His works seethe with rage, yet weep with compassion for the suffering. Chittaprosad Bhattacharya holds up a mirror to society and we peer into it, not able to look away. We are inflamed, enchanted, disconcerted and angered all at once.
I was forced by circumstances to turn my brush into as sharp a weapon as I could make it. [1]
Early Life and Political Awakening
Born in 1915, Naihati (today in West Bengal), Chittaprosad Bhattacharya grew up in Chattagram (Chittagong in present Bangladesh). He was studying in the Municipal School and later enrolled in the Chittagong Government College to pursue a degree in Humanities. In the mid-1930s, the young student fostered a strong sense of resistance against British rule in India and oppressive authorities who exploited the vulnerable. This anger manifested in his cartoons, posters and drawings. He made these works despite having no formal training or education in art.
Joining the Communist Movement
In 1937-38, the budding artist joined hands with the rising Communist movement in his college. He churned out more politically charged works making strong social statememts and was eventually discovered by P.C. Joshi, Secretary of the Communist Party. In 1940, Chittaprosad joined the Communist Party and started working for their publication as an artist.
Chittaprosad Bhattacharya, Untitled, 1942, Ink on paper
In 1941, Chittaprosad was an active member of the Communist movement resisting the Japanese invasion in Chittagong. Around this time, he was in direct contact with the rural community, and continued to create posters and drawings reflecting his humanitarian commitment.
The young political artist was then taken to CPI’s headquarters in Bombay. The city around this time was a progressive centre for intelluctuals, artists, singers, writers and theatre luminaries. Here, he furthered his fascination with the folk arts and street theatre with the cultural wing of the CPI - The Indian People’s Theatre Association (IPTA) founded in 1943. Artists associated with the IPTA produced pamphlets aimed at rallying the masses against fascist forces, colonial rule, feudalism, and industrial capitalism. The party’s close ties to the IPTA also led to the staging of plays on the misery of Bengal’s peasantry. [2]
Documenting the Bengal Famine
In 1943, when the Bengal Famine struck, Chittaprosad was sent to Midnapore as a dedicated journalist for the Communist Party of India (CPI) to document the effects of the Great Bengal Famine in Bengal’s villages and towns. Chittaprosad, born in Midnapore district and raised in Chittagong, witnessed firsthand the harrowing suffering in these regions. A self-taught artist, his unwavering love for the people became the driving force behind his powerful brushstrokes. He documented the brutal injustice and endless suffering of the people during the famine in stark black and white sketches, accompanied by notes in Bengali and English. These notes were harrowing first-hand accounts of the grim realities the artist witnessed. With him was Indian-American photojournalist Sunil Janah carrying his camera as a reporting tool while Chittaprosad had his pencils and sketchbooks.
Chitta made linocuts from his sketches. My photographs and Chitta’s linocuts from his drawings were printed together, along with our reports, in the Party’s weekly newspaper - then called People’s War. [3]
Chittaprosad’s works from this time make one wonder about the power of art in visual reporting. His pen and brush spelled misery, anxiety, fear and death in intricate details. The outlined forms and lines show a face wrinkled with worry, or a man’s hand laying limp on the floor, resigned to despair. A skeletal face sits atop a frail body, bones ready to break, but two eyes stare back at you, touching your conscience. These works were not akin to Chittaprosad taking notes from afar- nose buried in his sketchbook. Instead, he was an active witness to the sufferers' most private and perhaps final moments, capturing their plight as they lay on the brink of death.
We have got none in the whole world to help us live longer - we shall die. [4]
After depicting the famine in Midnapore, in 1944, Chittaprosad traversed along the famine ravaged areas of Bengal to reflect the plight of the masses in Vikrampur, Cox’s Bazar, Munshiganj and Chittagong.
Chittaprosad Bhattacharya, Untitled (Family), Linocut
Chittaprosad’s famine reflections were powerful yet empathetic, and were published in Communist Party journals like People’s War and Janayudha. Out of his sketches and reports, 22 were selected and published in a booklet titled Hungry Bengal - A Tour Through Midnapur District in November 1943. These copies were immediately seized by the British and burned, except one that Chittaprosad had sent to his mother. His sister Gouri Chatterjee said:
A few days later, a parcel reached my mother from Bombay. She showed it to my father, to us all—it was my elder brother’s book! It was a month-long eye-witness description through words and images, Hungry Bengal. Perhaps that single copy sent to my mother survives as the sole evidence of the awful terror of the times… [5]
Chittaprosad illustrated children's books and magazines and also designed costumes for the Indian People’s Theatre Association. In 1944, his costume designs were featured in Bijan Bhattacharya’s Nabanna. During the Bengal famine, Chittaprosad composed numerous songs, incorporating the musical tradition of Chattagram into their rendition.
In 1946, Chittaprosad permanently moved to Bombay, frequently traveling to Calcutta. His work remained the voice of the masses, speaking out against oppressors. His mastery of caricature shone through, often making powerful social and political statements. He also documented the Telangana Peasants Armed Struggle that was initiated in 1946. His linocuts, drawings and posters were prominent visual accounts of the last few stages of India’s struggle for independence.
A New Dimension
Around 1948 - 49, Chittaprosad withdrew from the Communist Party after a policy shift. Joshi too was ousted from the Party which upset Chittaprosad and he eventually distanced himself from active politics. He found himself more attuned to the world peace movement. A noticeable shift was also seen in his oeuvre around this time. He stirred away a little from his earlier themes of resistance and rebellion and instead displayed a softer, more personal and reflective dimension. These were images of resilience - of family, lovers and motherhood. Somnath Hore recalled:
I remember, he moved away from the subject of war and famine and worked on paintings of historical and secular themes. [6]
Chittaprosad Bhattacharya, Untitled (Hunters), 1945
Chittaprosad from within the four walls of his Andheri house in Bombay started churning out black and white prints that still depicted peasants, not suffering but wielding swords in acts of resistance. They are no longer frail and their limbs do not hang limp on their sides, instead they have heroic physiques with perfected forms and graceful movements. The lyrical forms and lines are reminiscent of folk art. Chittaprosad also reflected daily scenes of village life in his linocut prints often showing families struggling to make ends meet.
Chittaprosad Bhattacharya, Untitled (Threshing), Linocut
From Black and White to Colour
From the early 1950s, Chittaprosad embraced the full spectrum of the colour palette in his paintings. He was deeply in touch with his surroundings. He painted numerous landscapes, cityscapes, portraits, still lifes, and nude studies.
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Chittaprosad Bhattacharya, Untitled (Still life), 1949, Pastel on paper
Chittaprosad's depictions of flowers are characterised by a straightforward simplicity that reveals his fascination with their various shapes and colours. Placed in everyday containers like vessels, cups, and bowls within the artist's room, these flowers effortlessly draw the viewer's focus, becoming the central point of interest.
Chittaprosad Bhattacharya, Untitled (Railway Station), 1951, Pastel on Paper
Around this time, Chittaprosad’s new visual vocabulary was immediate, almost still and relaxed, making no statement. He was simply an artist of observation, rendering scenes in vibrant colours and hues that almost resembled post-impressionistic pictures. These works were distinct from his more politically charged pieces, highlighting Chittaprosad's ability to convey beauty and tranquility through his art. They offer one a glimpse into the diverse range of his artistic expression.
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Chittaprosad Bhattacharya, Untitled (Boats), Mixed media on paper
Chittaprosad also explored themes and subjects that were completely secular. His work from this time embodies a poetic quality, inviting one to see the 'Romantic' in him. In the late 1950s, Chittaprosad explored the expressive potential of post-cubist vocabulary and became friends with Danish poet Erik Stinus and his Indian wife Sara. Untitled (Lovers) reflects his exploration of structural form, incorporating cubistic spatial units and vibrant chromatic intensities reminiscent of Fauvism. Through expressionistic forms and colours, he translates inner emotions, employing formal devices of geometric planes inspired by the cubist language.
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Chittaprosad Bhattacharya, Untitled (Lovers), 1970, Dry pastel on paper
A Journey of Evolution: Diverse Expressions and Global Influence
Chittaprosad's work continued to evolve, reflecting his growing interest in diverse artistic expressions and his deepening connections with international art communities.
In 1952, he worked as a screen painter and costume designer for the Little Ballet Troupe in Bombay, collaborating with Shanti Bardhan and Gul Bardhan on plays like Panchatantra and Ramayana. This period also saw the creation of his poignant linocut series Angels without Fairy-tales, which highlighted the plight of children deprived of their childhood.
1953 marked his contribution to the children’s edition of Rajni Palme Dutt’s book India Today, published by People’s Publishing House. The following year, he designed a hand-painted lithograph poster for Bimal Roy’s Hindi film Do Bigha Zameen, which became a significant success.
Chittaprosad's work gained international recognition in 1955 when around forty of his black-and-white prints were exhibited at India House in New York. This exhibition, which included a folio published by Harold Leventhal, received reviews in prominent publications like the New York Post, National Guardian, and The New York Times.
In 1956, he held his first major solo exhibition in Prague, Czechoslovakia, where the largest public collection of his work is housed at the National Museum of Prague. His work was also exhibited in Denmark, Holland, Germany, and the USA during this period. Despite his international acclaim, his unpublished book The Story of Modern India remained an unfinished project.
Chittaprosad's friendship with Czech puppeteer Ing Frantisek Salaba in the mid-1950s introduced him to the world of Czech puppetry, leading to a new horizon of admirers in Czechoslovakia. This period also saw him delve into puppetry, creating the puppet theatre 'Khelaghar' for children, where he wrote, directed, and designed costumes for various plays.
His first book, Indian Fables and Fairy Tales by Czech author Bela Tislerova, was published in 1959, featuring his illustrations.
By the early 1960s, his health began to decline, yet he continued to create, illustrating stories for children by Danish author Hans Christian Andersen and other charming storybooks. His set of linocut prints, Angels Without Fairy-tales, was published by the Danish UNICEF committee in the late 1960s, reflecting his ongoing commitment to social themes.
In 1968, The Kingdom of Rasagolla and Other Tales was published, showcasing his narrative and artistic talents. Despite battling failing health, he embarked on a project to illustrate stories from the epics Ramayana and Mahabharata in Bengali verse.
A documentary film on Chittaprosad titled Confession, directed by Czech filmmaker Pavel Hobl, was released in 1972, further solidifying his legacy. However, his health continued to deteriorate, and in 1978, Chittaprosad succumbed to chronic bronchitis.
Chittaprosad’s work highlights the profound responsibility of art to engage with its era. His creations, emerging from the turbulence of mid-20th century India, spell both intense rage and deep compassion. His art compels us to confront the stark realities of his time, challenging us to see and feel the struggles and hopes of those he depicted. Through his evolving style and diverse mediums, Chittaprosad’s legacy endures, reminding us of the power of art to not only reflect but also to provoke, inspire, and demand change.
References
[1] Chittaprosad quoted in Prodyot Ghosh, Chittaprosad: A Doyen of Art-World, 5
[2] Simonow, Joanna. “Famine Relief and Nationalist Politics on the Eve of Independence: The Bengal Famine of 1942–44.” In Ending Famine in India: A Transnational History of Food Aid and Development, c. 1890-1950, page 153, Leiden University Press, 2023.
[3] Sunil Janah, Large Eyes and a Larger Appetite for Discussion, Chittaprosad: A Retrospective, DAG
[4] Brush and ink on paper, 1944, Inscription in English, Verso, Kanaksar, Lowhajang, ibid
[5] Gouri Chatterjee, Artist Timeline, ibid
[6] Somnath Hore: Chittaprosad - the humanist, Lalit Kala Akademi, New Delhi, 1993
[7] Wille, Simone. A Transnational Socialist Solidarity: Chittaprosad’s Prague Connection
