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Born 1968, Orissa, after completing his Diploma in Electrical Engineering from Orissa, pursued his BFA in painting from Kala Bhavana, Visva Bharati University, Santiniketan and MFA in painting from M.S. University, Baroda. His scholarships include Eastern Print Biennale Award 1995, National scholarship from Ministry of Human Resource and Development, in 1996-98, Nasreen Mohamedi Award in 1999, M.S. University Gold Medal in 2000. SAHU tries to execute things as they appear in reality, and give them a different meaning altogether by juxtaposing images from dissimilar areas. His practice could be viewed as re-constructions and investigation of events. In his ongoing series Sahu examines the ‘unknown multitudes’ that serve the society in many different ways for the fulfillment of basic human needs and daily survival, but themselves are never recognised for their contribution. Sahu’s works intervene into these areas and expose situations and faces which are unrecognised and marginalised yet are important for the fabrication of contemporary society. Sahu’s process starts with photo documentation and interviews which later he reworks in his studio. The intention is not to repeat the reality rather to juxtapose these data in a contextual way; in his works, photographed and scanned images appear alongside re-created situations. Irrespective of the fact that Sahu works in several different medium, investigation into the human condition is the thread of commonality running through his métier. Sahu has participated in numerous prestigious shows in India and abroad. To name a few : “Lockdown Diaries” an online group exhibition at CIMA art gallery, Kolkata-2020 / “Art: Bengal Now”, a group show of Bengal Contemporary artists, Curated by Pranab Ranjan Ray, Jointly organized by Gandhara art Gallery, Kolkata and Dhoomimal art Gallery, New Delhi, at Dhoomimal art Gallery, New Delhi-2020 / “Anthology of Anecdotes”, a group show at ganges art gallery, Kolkata-2019 / “Kursi” a group exhibition of Sculptures, Paintings and Installations at Sarjan art Gallery, Baroda, curated by Sandhya Bordeweker-2019/ “Blue India” a group exhibition curated by Insang Song, for Art Asia art Fair-2018, at Kintex Convention Center in Korea, from 22nd to 25th November-2018 / “Text as Text, Part-II”, a group exhibition at gallery Art and Soul, Mumbai, Curated by Subhalaxmi Sukla-2018 / “Constellations” – a group exhibition at Bihar Museum, Patna, Bihar-2018 /“Written on Water” a group exhibition at Gallery Beyond, Mumbai-2018 / “ PART/TRAP” a group show of eleven contemporary artists at Gallery Ragini, New Delhi, Curated by Anoop Kamath-2018 / “ Response” a new-media and installation show at Gems Cinema (an abandoned cinema hall) , Organized by CIMA art gallery, Kolkata; Curated by Rakhi Sarkar-2018 / “ Artists Postcards” at Busan International art Fair, Bexco,Busan,Korea,7th to 11th December 2017, Curated by Artists Center, Mumbai-2017 / “Exhibition of works done at National Artists’ Camp”-with a group of 16 young contemporary artists, Organised by Karnataka Chitrakala Parisath, Bangalore-2017 /Daegu-India Fine arts Exchange Exhibition at ICCR, at Daegu arts centre, 13, exhibition hall, organized by Korean Fine Arts Association in Daegu Branch, South Korea-2017 / - “Project Tihar”- an exhibition of Painting, Drawing, Print, Sculpture, Video and Installation created during a collaborative project with the inmates of Tihar , at Lalit Kala Academy Rabindra Bhavan, New Delhi. Curated By Veer Munsi-2017/ - “Studio Gem Revisited” a 6 person show at Cima art gallery,Kolkata-2017/ - “Paper and Pigments” a 7 person show of paper works at Gandhara art Gallery, Kolkata-2017/ -7th Bharat Bhavan Biennial of contemporary Indian art 2017,at Bharat Bhavan, Bhopal-2017/ - CIMA, The Kolkata Art Festival-2017, an exhibition of works curated by CIMA gallery at Studio Gem (Gem Cinema), Kolkata-2027/-Participated in The Odisha Art Conclave-2016, organized by IPCA, at Bhubaneswar, Odisha-2016/ -India Fine Arts Exchange Exhibition, Organizer: Korean Fine Arts Association in Daegu Branch, South Korea-2015/-Participated in Jaipur Art Summit-2014/ -Exhibition of works of International art exchange programme, at Faculty of Fine and applied art, Burapha University, Thailand. Participating countries, China, India and Thailand-2014/ "Praxis" - a travelling show at Lalit Kala Academy, New Delhi, Patna and Rajgir, 2013/ "India Today, Copenhagen Tomorrow", a sculpture group exhibition at Denmark Embassy, New Delhi- 2013 /“Small is Big” – Contemporary Miniature art Show of India, at Durbar Hall Gallery, Kochi-2012 /“Global Peace”-a group show of Thai-Indian at Art Gallery, Silpakorn University, Bangkok, Thailand-2009/“Urban Discord”- a group show organized by Indian contemporary at gallery Romain Rolland Alliance Francaise de, Delhi, and Hong Kong-2009/ Art for freedom” Aicon gallery, London -2008 /" The Promissory Maze" , a group show in Dubai, at 1x1 art gallery-2008 /- “Art for freedom” a group show cum auction in London, Jointly organized by Tehelka art and Aicon gallery, London-2008/-“A MAZ ING” - a group show at Jehangir art gallery, Mumbai, organized by RPG Enterprises 2008/ - International Art Fair, Rome-2007 / - “V I S (V) A” a chronicle of difference, three person show at AICON art Gallery, New York-2008./ - “Emerging India”–a group show of young contemporary artists at The Henry Moore Gallery, Royal College of Art, London. Presented by, Art Alive Gallery, New Delhi and S.A. Fine Arts, London-2007/ -“Generation Next- New Trends in Contemporary Indian art” a group show at India Habitat Center, New Delhi, Curated by Art Alive Gallery, New Delhi-2007/“Ways of Seeing” – a group show at India Habitat Center, Curated by Sushma K. Bahl-2005 /- “The Sense of Touch” – a two person show at Guild art Gallery, Mumbai, catalogue essay by Nancy Adajania-2005/- “Generation-I”, curated by Zehra Jumabhoy, jointly organized by Saffron art and Guild art Gallery at Saffron Art Gallery, Mumbai-2004/- “A New Mediatic Realism?”- at ABS Bayer’s Gallery, Baroda, Catalogue essay by Nancy Adajania-2004 / - “From Brahma to Bapu – New icons and symbols in Indian art” – a group show, curated by Sovan Som, organized by CIMA Art Gallery at India Habitat Center, New Delhi and later at CIMA Art Gallery, Kolkata-2002/ - “New paradigms”–a group show, curated by Ranjit Hoskote, organized by Gallery Threshold, at India Habitat Center, New Delhi-2002. He has invited as visiting Faculty to Faculty of Fine and Applied arts, Burapha University, Thailand-2014/ -Visiting Faculty to Fine arts faculty, University of Dhaka, Bangladesh-2013/ Visiting faculty to Department of Fine arts, University of Hyderabad, Sarojini Naidu School of Fine Arts and Communication; Hyderabad.-2011. Since 2001,Teaches in the Department of Painting, Kala Bhavana(Faculty of Fine art), Visva Bharati University, Santiniketan, India. Sahu lives and work in santiniketan.
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Born in 1964, in the Siliguri district of West Bengal, Prasenjit graduated in visual arts specializing in the discipline of painting from Rabindra Bharati University, Kolkata. His works have been showcased in many solo shows in the year 2005 and 2007 at Visual Art Gallery, India Habitat Centre, New Delhi, Presented by Gallery Sanskriti, Kolkata, also in 1996 at ABC Art Gallery, Varanasi presented by ABC India Ltd. and in the year 1994 at Jehangir Art Gallery, Mumbai presented by RPG Enterprises as well as at Birla Academy of Art & Culture, Kolkata. His works have been demonstrated in many Group Shows, while he also participated in celebrated art camps, and art events in India and abroad. In the recent past, he has participated in an all-India show “Viswaroopa – The Form of Unoverse” curated by Johny ML, presented by Birla Academy at Birla Academy of Art & Culture, Kolkata, in 2018. Other major Shows are: In 2005 ‘Bengal & Beyond: The evolution of Bengal Art’ presented by Art N Soul at India Habitat Centre New Delhi and ‘Roots in hue’— a group show presented by Gallery Sanskriti at Jehangir Art Gallery, Mumbai, In 2004. He took part in a group show by Art Voyage at Nehru Centre, London, titled, ‘A Tale of Two Cities’ which showcased works of artists from Mumbai and Kolkata at Birla Academy, Kolkata. He also participated in “Colours of India”— a group show in Jakarta presented by Gallery Sanskriti, Kolkata. In 2003 “Art in Industry”— an Art Camp sponsored by TATA STEEL, Jamshedpur was presented by Aurodhan Art gallery, Pondicherry in which he took part. His works were included in “The Hues of Bengal’ – A RPG Collection of contemporary Art from Bengal at National Gallery of Modern Art, Mumbai, and some of his works were presented at “Contemporary Bengal art” by Birla Academy of Art & Culture at Lalit Kala, New Delhi. In 1999 he participated in “Tradition and Modernity in Bengal,” a group show presented by Birla Academy at Rabindra Bhavan, New Delhi. In 1998 his works were shown in ‘Indian Contemporary Art’ – The RPG Collection in Germany. In 1997 he took part in ‘Painting on Mother Teressa’ – from RPG Collection at Kolkata and Mumbai. In 1996 ‘Creative Faces’ – presented his works by Birla Academy of Art & Culture, Kolkata. In 1991 ‘Young Faces in Contemporary Art’ presented by Birla Academy of Art & Culture, Kolkata celebrated some of his signature styled works. He has received Awards from Birla Academy of Art & Culture annual shows in 2000, 1999, 1994 as well as in All India Art Exhibition (Jamini Roy Birth Centenary) in 1986 and a Gold medal in the inter-university National Youth Festival at Akola. His works are in possession of sincere art collectors and reside in various parts of India and abroad. Prasenjit Lives and works in Kolkata.
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R B Bhaskaran was born in Chennai in 1942. He studied advanced paintings at Government College of Arts & Crafts in Madras from 1960-66. He also took part in training for Fresco technique at Bhanasthali Vidyapith College, Rajasthan in 1964. He practiced Intaglio Printmaking, Lithography and Ceramics from abroad in the year of 1968. Bhaskaran's work has a strong sense of colour and a proper linearity. His works have a tribal characteristic due to his in-depth studies in frescoes. There is a certain directness in his elements. He also took part in the Madras Art Movement of the 1960s where he rebelled against the concept of Nativism propagated by K.C.S. Panniker, the idea that one must consciously evolve an Indian style by introducing Indian motifs and themes into ones work. He won fellowships from the Department of Culture, Ministry of Education amongst other awards. He has held important offices like Honorary Secretary, Lalit Kala Akademi, Chennai in 1987; Principal, College of Art, Kumbakonam, Tamil Nadu in 1995; Principal, Government College of Art, Chennai, between 1997 and 2001; and Apex Committee member for the National Gallery of Modern Art, New Delhi. He served as International Juror for the Florence Biennale, Italy for a few years.
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Rakhee Roy
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About Rakhee Roy

Rakhee Roy is a painter and artist who has completed her art training at the Academy of Fine Arts Kolkata, 2006. Her solo exhibitions have been organized in several Art galleries, narrating her journey, including in a solo Exhibition “In Quest of Green” at Birla Academy of Arts and Culture, Kolkata in April 2010 following “In Quest of Green -2” at the Academy of Fine Arts, Central Gallery, Kolkata in November 2012, “In Quest of Green-3” at Nehru Art Centre, Mumbai in August 2013 and at Jehangir Art Gallery, Mumbai in September 2013, and finally “In Quest of Green” at Academy of Fine Arts, Central Gallery, Kolkata in November 2015. Her works have been exhibited in a number of group shows including in Taj Bengal, in the show of “Eye Within” in 2008, Cymroza Art gallery, Mumbai in 2006 and 2010, Gajanendra Prodershani in 2011, Annual Show at Birla Academy of Arts and Culture, Kolkata, in 2011, Annual Show at Academy of Fine Arts, Kolkata, in 2011, “Ganges Art Mela” at Ganges Art Gallery, Kolkata in March 2013 and 2014, Academy of Fine Arts, in February 2015 and North Gallery, Kolkata in January 2013, Mirage Art Gallery, Kolkata in March 2013, Bangalore Art Fair in August 2013, “SudrakUtsav” at Academy of Fine Arts, Kolkata in October 2013 and in November 2015, a group show in Indira Gandhi Centre for She participated in “India Art Festival,” India’s Contemporary Art Fair, held at National Stadium, in “Artistic Symposium London, 2016” at the Nehru Centre, London during March-April 2016, in “World Art Fair Dubai, 2017” at the World Trade Centre, Dubai during April 2017, Delhi art festival, November 2017, Jaipur art summit, December 2017, First international Kala Mela, Delhi 2018, Environment day workshop, American center Kolkata, July 2018, Open Air workshop conducted on Kolkata 25K Marathon conducted by TATA STEEL at Kolkata, January 2019, She participated in ART REVOLUTION TAIPEI (TAIWAN), 2020 and 2021.
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Lyrical and romantic, his work is typical of the Bengal school and reminiscent of Nandalal Bose who was his mentor.
"I represent the village in the city"
Ramananda Bandyopadhyay is a worthy representative of the Bengal School of Art. He is inspired by the simplicity and uncomplicated lives of the rustics. An admirer of Nandalal Bose he draws unabashedly from the master's work and has modelled his art on the same lines. Lyrical and romantic, Bandyopadhyay's canvases have a radiant innocence that is strongly reminiscent of an earlier era when life had a dignity and graciousness. A very distinct characteristic of Bandyopadhyay's work is the recurrent use of a palette that comprises principally of reds, browns, greens and white. In a career spanning almost four decades, he has consistently employed the same colors. " I owe the three to four colors used in my paintings, exclusively to my mother's addiction to pan (betel leaf). The green of the betel leaf, the lime's white, the catechu's brown and the red of the juice of chewed pan that turned my mother's lips into a pair of pure gems,"says Bandyopadhyay as he explains his predilection for these hues. 
Mythology is a favourite subject of this artist. Drawing on the ancient and rich cultural heritage of his native state as well as the country, Bandyopadhyay paints the numerous gods and goddesses that people Hinduism and the fascinating tales that abound in the literature of India. This strong bias towards religious subjects is in part attributable to his upbringing. His parents were ardent followers of the religious tenets of the Ramakrishna Mission and the artist himself spent most of his working life as a Director of the Art Museum and Gallery at the Ramakrishna Mission in Kolkata. 
Not that Bandyopadhyay lives completely in the past and is unobservant of modern day life. In fact, all his canvases are firmly rooted in contemporary style and technique. Many of his paintings depict the humdrum existence of the middle-class in any large city going about their day-to-day activities. He transforms even these mundane subjects into paintings invested with a rare grace and beauty. A blend of tradition and the present-day world gives Bandyopadhyay's canvases the best of both worlds.
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Ramkinkar Baij was born in Bankura in West Bengal in 1910. He studied at the Kala Bhavan, Vishwa Bharati University, Santiniketan in 1925. Trained by two European sculptors, one of whom was a disciple of Bourdelle, who were on a visit to Santiniketan on an invitation by Tagore, his style was still uniquely his own. Groomed by his mentors, Nandalal Bose and Tagore, the clay modeler turned artist. Working at a time when traditional art was transitioning to modern art, Baij's work proved to be crucial to Indian art history. Nature and Baij's own folk background turned out to be the crucial influences in the formation of his own style. Later, he headed the Department of Sculpture at the Kala Bhavan. He always believed that it is only momentum that creates tension in a work of art. His work portrays tremendous energy, joyous, vital and reaching out to light. It is earthy and dynamic while showing a surging movement or growth. His path-breaking work in sculpture has been both acknowledged and respected, first in Santiniketan, then across the country, and internationally as well. His sand and pebble sculptures are noted for a typical, lyrical, metrical sensuality, which has an amazing oneness with nature. Indian sculpture, hitherto limited to academic naturalism, was transformed by him. He mostly depict Santhal tribal art and life into his own work and enhanced them by an understanding of Western expressionism that was gleaned from books at the library of the Kala Bhavan. Although primarily known for his expressionistic sculpture, he was a gifted painter. This sense of rhythm that his sculpture is noted for is manifest brilliantly in his watercolors. The fluidity of this medium lent itself to his style.
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Raja Ravi Varma was an Indian painter and artist, considered as one of the greatest painters in the history of Indian art. Raja Ravi Varma is known for his amazing paintings, which revolve mainly around the Puranas (ancient mythological stories) and thegreat Indian epics - Mahabharata and Ramayana. Ravi Varma is one of the few painters who managed to accomplish a beautiful union of Indian traditionwith the techniques of European academic art. This is one of the reasons why he is considered as one of the most, if not the most prominent Indian painters. Varma was also responsible in taking the Indian art all over the world with his impeccable technique. While the Europeans and other art lovers admired his technique, the laymen of India enjoyed his work for its simplicity. More often than not, Varma’s paintings highlighted the beauty of South Indian women which were admired by all. His portrayal of Hindu gods and goddesses went on to become worship material for many people belonging to the lower castes. Back then, these people were often forbidden from entering temples and thus they celebrated Varma's works, for they gave them an idea of how the deities looked inside the temple. He also managed to improve the artistic knowledge and spread the importance of art among Indian people. He achieved this by making affordable lithographs, which were accessible even to the poor. Alternatively, this also made him a household name and Raja Ravi Varma soon captured the hearts of all. Recognizing his feat, Viceroy Lord Curzon honored him with the Kaisar-i-Hind Gold Medal for his service in thefurtherance of public interest.
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S. G. Vasudev receives his degree of Art from Madras Arts College. He is also one of the longtime artists associated with Cholamandal Artists' Village. He stays in Bangalore. He is one of the most prominent painters in Karnataka and has held art shows in many parts of the world and his works are in collections at various galleries. He has won many awards in India and abroad. He acclaims in an interview: "As you know, there are a few distinct and recurring themes in my works. One of them is “Vriksha” or the Tree of Life. I in fact unknowingly discovered this theme. I was initially fascinated with the tree and painted many pictures with the tree juxtaposed with other elements. Gradually the tree moved to the center of the stage and started absorbing various elements and forms; just like the gigantic banyan tree which is so amorphous and protective.
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Samir Aich is a tireless experimenter and has been busy accomplishing apparently impossible things. He has sought to 'figurate' abstract concepts such as the primordial force of Nature, or its earthly counterpart, the animal spirit. Earlier on, his work depicted these concepts in the shape of a variety of awe - inspiring imagery. Such depictions of elemental mass and energy provided the viewer an initial cue to the inner world of this indefatigable painter, he soon shifted his plane of visual expression by endeavoring to accomplish another near impossibility, namely articulating in terms of the black pigment covering virtually the whole of the canvas space. One finds an echo of what the great Turner had tried to do when he wanted to picturize the night itself. The canvas is first uniformly painted and light is then introduced onto this surface by regular patches of white, green, red ochre’s and then effacing it, which are then usually successively veiled by later application of dark but transparent wash. Like toned varnishes, these subsequent patches not only reduce the whites and make them recede in shadow, but their liquidity responds to the material texture of the canvas and curdles into the weave and seductive lines, restoring its physical presence. The other part of the oeuvre is in his extraordinarily sensitive modulation of tints and shades. After having reduced his colour to no more than a scale of values, he pursues tonal painting with fervour and discipline valourizing the activities of his mind, evaluating, weighing and balancing the relative strengths of all that it encounters in its search for order and the unresolved complexities. The erased areas between them have taken on a new resonance that pushes us to the figurative markers. The paintings work best when the salient elements are all held in tension on the same plane, with no element appearing to overlap or underline any other. This gives the paintings that quality of a world whose contents might be said to be suspended in a simultaneous presentness of being. The flat paint body seem less important than tone, an effacement of one layer followed by another setting a vector, shadow set against deeper shadow, Aich plots the position of objects around the nudes, marking the points where their forms reflect, intersect or overlap, the frame within the frame diverges instead of converging. Humans float through his works in gay abandon with a fluidity assuming now one form ,now another illuminating areas as vivid streaks of lighting descending into a light drizzle, a kind of lunar aesthetics grow on the viewer as our own experience abides in another pictorial space. A critical reading of Aich’s drawings, paintings however might lead one to define them being as pictographically expressionistic- a faithful adherence to expressionistic- figurative markers, seemingly innocuous portrayals of still objects and at times a mingling of both on a single canvas, is not to be viewed simplistically as work of an incurable romanticist that yields several possibilities, in turn giving rise to polemical queries that demands a sort of substantiation. A previous figurative series takes into account the complex manipulation of space in his works- large areas of a flat delineation of pigment act as a catalyst to the simplification of techniques to a form of abstraction.
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anjay Bhattacharya was born in 1958 in Kolkata. In 1982 he received his Diploma in Art from Government College of Arts and Crafts, Kolkata. After finishing his graduation, he has joined the Clarion Ad agency as an illustrator. Later he joined Hindustan Thomson Associates where he had the freedom to freelance and created a series of watercolors for his first exhibition, based on architecture and still life. He has done several exhibitions worldwide. In 1988 and 1989 he had solo exhibitions at Gallery Aurobindo in New Delhi and Chitrakoot Art Gallery, Calcutta. In 1988 he had a solo exhibition at Dhoomimal Art Gallery, New Delhi. In 1992 he had a solo exhibition at Jehangir Art Gallery, Mumbai. In 1994 Sanjay showcased ‘Rajiv Gandhi: Landscape of a Man’ at National Gallery of Modern Art in Mumbai and at Jehangir Art Gallery, Mumbai. In 2002 he had a solo show ‘Painting Beyond Words’ at Arts India, New York. Sanjay is recipient of many awards such as - He won awards from National Exhibitions, Calcutta. In 1983 and 1988 he participated in All India Watercolour Exhibitions at AIFACS and won awards. In 1988 - 1989 Sanjay received an award at Sahitya Kala Parishad Annual Exhibition. In 1988 he won an award at Second International Asian-European Art Biennale in Ankara, Turkey.
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Sanjeet Chowdhury, a graduate from the St. Xavier’s College, Kolkata in the late 1980s,is a Kolkata-based independent photographer, filmmaker, and curator committed to representing the everyday. He works with various media and format, while 35mm manual cameras, black and white celluloid films, and wide-angle lenses remain his favorite in visualizing people and spaces. His thematic interests have a broad spectrum ranging from photography, cinema, and art history to culinary culture, religion, and popular culturethat he explores though his photographic, cinematic, and curatorial practices. Sanjeet’s works has been widely exhibited in galleries, art and film festivals as well as extensively published in books and magazines. Previously his photographs were showcased in exhibitions in London, New York, and Basel, while his video arts and films were screened at various international festivals in Smithsonian Institute, Washington, Transmediale in Berlin, Tel Aviv, Stockholm, Shanghai, and numerous film festivals across India. More recently he curated group photography shows as well as books. Currently he is working on two book length projects: the first project, “Little Europe,” is a collection of his photographs from contemporary townsthat were European coloniesalong the river Hoogly, while the second project is an anthology on the culinary history of Bengal. Besides being a practicing photo-artist, Sanjeet is a collector of albumen and silver gelatin prints, glass negatives, and Daguerreotype plates. He owns afilm production house, while also being one of the leading collectors of 19th and 20th century lithographs and oleographs from India. Sanjeet works out of Kolkata and Mumbai.
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Satyajit Ray, was born on May 2nd, 1921, Calcutta and he died on April 23rd, 1992, Calcutta. He is renowned Bengali motion-picture director, writer, and illustrator who brought the Indian cinema to world recognition with Pather Panchali (1955; The Song of the Road) and its two sequels, known as the Apu Trilogy. As a director Ray was noted for his humanism, his versatility, and his detailed control over his films and their music. He was one of the greatest filmmakers of the 20th century. Ray was an only child whose father died in 1923. His grandfather Upendra Kishore Raychowdhury was a writer and illustrator, and his father, Sukumar Ray, was a writer and illustrator of Bengali nonsense verse. Ray grew up in Calcutta and was looked after by his mother. He entered a government school, where he was taught chiefly in Bengali, and then studied at Presidency College, Calcutta’s leading college, where he was taught in English. By the time he graduated in 1940, he was fluent in both languages. In 1940 his mother persuaded him to attend art school at Santiniketan, Rabindranath Tagore’s rural university northwest of Calcutta. There Ray, whose interests had been exclusively urban and Western-oriented, was exposed to Indian and other Eastern art and gained a deeper appreciation of both Eastern and Western culture, a harmonious combination that is evident in his films. Returning to Calcutta, Ray in 1943 got a job in a British-owned advertising agency, became its art director within a few years, and also worked for a publishing house as a commercial illustrator, becoming a leading Indian typographer and book-jacket designer. Among the books he illustrated (1944) was the novel Pather Panchali by Bibhuti Bhushan Banarjee, the cinematic possibilities of which began to intrigue him. Ray had long been an avid filmgoer, and his deepening interest in the medium inspired his first attempts to write screenplays and his cofounding (1947) of the Calcutta Film Society. In 1949 Ray was encouraged in his cinematic ambitions by the French director Jean Renoir, who was then in Bengal to shoot The River. The success of Vittorio De Sica’s The Bicycle Thief (1948), with its downbeat story and its economy of means—location shooting with nonprofessional actors—convinced Ray that he should attempt to film Pather Panchali.
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Saumen Khamrui is a Kolkata based artist. He is very talented young artist. His style mostly portrays landscape and cubism. He has been graduated from Government College of Art and Craft in the year 1997 with 1st class First in Drawing and Painting and mastered from the same with first class marks. Being budding artist he has done several exhibitions and solo shows throughout the nation. He has bagged many awards like - Abanindranth Tagore Award, Camlin Scholarship award, He attended various workshops like Bhavan Prangan, organized by Rajya Charukala. He played a role of an art camp trainer organized by Rajya Charukala Parishad, Deptt. of Information & Cultural Affairs, Govt. of West Bengal, Kolkata.
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She was born in 1960, she has created her own niche in the world of contemporary art since last 35 years. Her creative collection is eclectic, encompassing a wide range of mediums ranging from painting, murals, experiential installation performances, films to installations, sculptures and each a unique expression of her style. She has brought a synergy of her unique sensibilities and her art. Working with different mediums like - oils on canvas, inks, mixed mediums, ceramics and printmaking, her work has redefined the basic contours of figurative art in India, finding admirers across the planet. Seema's most recent thematic engagement has been that of the 'Hiranyagarbha', that evolved from Yajur Veda, reflecting the quiet and subtle beauty of constant procreation. All the works are like a prayer - a way of meditation. Though theses works are spiritual yet these are not religious.
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