f ɱ š { z™L { h ұ߱ ձ ձB h h ᥤ , œԿ ߱ U , ձ T SŠ f , ›™L -- Š ‡ ұ ձ ұ ձj - #; ౿ , Կ† - Š h ұ Կ†, Š ɼ S ɱ , j S ɱ ɱϼ ? Š ձ + Š ™L f ɱ ձ SŠ ߿‡ i߱ϼ ձ ұ V h, / Š, &l, , SϿ ձ™L 汿 ɱ ձ h ˆſݼ x ұ߱ P ߿ l ұ - MǼ c ұ Կ†, Uϼ Š h ձ Ž d ձ ߿ ౿B ɱ ձX ұ ŠԿ† ߿| h &l - ߱ſ U& ›l i = ›߱ 䱏 iœ ™L - h , , , ߱h, , h, , 䥤, ߱ ɱ S U ȿɱ S߱ ձ ձ S ™L S Š Š ›† S ۿ ձ ȿɱ ձ ߱ Կ† ߱ › ձ Ũ& Š Ž V š › ŽS Ž ߱ . S ŠŽS ձſ տ › S ſl S- Š Ž Š ߱ ť ^ ɱ Ž›l , ›Ž ұ Š տ߱ š Š iœ ŽS SŠ œ ձ ›ɱ Š ձ† ‹ ɱ 1896 ԩ†s ߱ ձ Ũ Ž ձ f / f › S Ž- Ž } : ߿ ŠϿ › ɱ ɱ f Š ձK ߱ Ž ձ Ũ }Ͽ Š Ž › š M › Ͽ Š Ž š ɱ f S Š iœ + Կ 1907 ɱ ɿM f Š š+ ۿ ձ Indian Society for Oriental Art - š ߱ U † Š f Q Š Ž+ ߱ S‚ Ͽ š + j , Ž , տ , , ‚m, ձ , f , f &l, › ϼ ‘/ Ũ’ / Ũ M f - s߱ Ͽ S , S™L ߱` ձ / ߱ s տS™L Š 22 ۿ›, 2002 ұ 101 iœ ձɱ' › ‘ ڱ’ ӿ †˜ ž߱™L տS™L Š ™ œ ›› iœ ձ n 1902 22 ۿ› ߿† 䱏f S / M { ɱ MW nh › Ž q / տ ߱߱ , -ձ Aɱ - ձ ߱ ߱ ߱߱ ߱ q / q h ձj ߱߱ / , , ɱ ™ K ձ Š ұ߱ S l Š › DZ U, M? , / , f ɱ Q ұ g Ž ձ߱ ձ h ձ ߱ › KG ›Կ߿ - ſ - ձ B, ɿ ߱ h ձ Ժ ɿM ŽJ š f h ߱ տ B q ɼ h › v ߱ ˦ h 1923 ԩ†s ߱ K Ũ ձ- ձ Ũ Ž Percy Brown. ɱ ӿ : Š + Sɱ ſ Š Š Ͽ߱ DZ ɱ ձ Ũ œ տ} ȼ ߿ &Q h ? տ 1928 ߿ ձj Q ſ & ձ տ ұ 1929 Q ܿ տ ߱ ߱ š տ › ߿ ›ӿ š |X Ԧš / ߱ g ձLa h ձŽ ӿǼ տ :& Կ† ձ ӿ, c ߱ ߱ | ™L ձ š ұ ŽS - Ũ ձ- Ž Lionel Heath ߱ Ũ K › ›™ j q Ž ™L Ž ߱ ɱ V 㱿 / ұ ‡ › | ұ ߱ ұ ߱ j , ұ S k ұ ߿ &Q ߱ c Ž ſ ұ h , ߱ ɱ տ Ũ ұ M fձ f &l ɱ Ž , c ߱ ձ Ũ ұ Ž ұ B 63 f M j h › /‡-߱ Ž ߱ ™ h ›kɱ f &l ɱ / › ɱ ɱ ɱ ߱ f , j ſM f ›ˆ Š ߱ - ұ S , ձ † Š ߱ f › , ɱ ձ Ũ Ž›l ɱ/ ߿‡ ™L i ‡ ߱ h , † ձ d ұ߱ & Ž Š h Š Š i߱ Š Faletlis ſ‡ › S › ɱ I met her for the first time and was struck with the paintings on view, one felt the warmth of a temperament, unmistakable artistry and freshness of the exhibits that was unknown in the currency of Indian art Her art brought a soothing equilibrium of which no Indian artist could remain unaware. ɱ ߱ Š ߱ ұ ߱ ձɱR ұ * ɱ / ߿ , ‘ſ Šϼ ߿ ſ ߱ ߱ ұ߱ ߱ ’ ߱ 1936 Ũ ߱ ™ ɱ š 榤 ߿ ŽS - Lahore School of Fine Arts. Studio cum-Art School - freelancing h S ɱ Ž ߱ 榤 X տ ɱ ˆſ ſX ŽS DZ/ Ž Š { š ձ iœ BM h ߱ Sɱ ˆſ ™ ձ ߱ , ձ , ձT ձ ɱ ߿ h ŽDZ ձ , ™L , . . ߱, &, › , , , ߱ ž, ž, La , P , i, ձ ›Կ ߱ † Š ›‡ ɱ &* ߱ ` /M f ɱ ˆſ q ? ѦԨ S ձ - › ߿, , ɿŠ, S ɱ S . / ` K : ձ | ߱ M : ' Ž ձ ™L , ߱, , ߱, •f Aɱ Ÿ—, ߿ſˆ , `ˆ - ɿMQ ձ , s q š ? ɱ ձj hM ɱ S ɿ ɱ &* ›PMW ɱ/ ^ , ɱ ߱ › i SS߱ ձ Ž q ˦ ɱ / 骿 - ɱ , › ™L Lš ^ ձ. . - ? տ 1944 ˦ ɱ ɱ ϼ ձ i ߱ Ũ ձ - Š / Ũ " ɱ ߱ › › ߿ press review Lahore can fairly claim that Mr. B. Banyal wal in the forefront of the new experiments. Sanyal is one of those sincere artists, humble and fighting, who strives to find even more perfect forms for his interesting artistic messages Mr. Sanyals exhibition is an eloquent testimony to his inspiring leadership. d ɱ ? Š S ߱ ɱ Š Ž›l , ұ ձ c ɱ Ũ ձ - Ž , ™L , &, ..߱, › , , ߱ ž, ›Կ Š ŽS † š տ߱ ɱ 1936 ߿ f V ™L -Š Ž ߿ ‡ K f +߱ f f ߱ ɿŠ ‚ ɱ ˆſ A ߿ ‡ , / ɿŠ Ũ ձ q ɱ K ߿ A ߱ ſX q ™L ? ɱ ɱk ձ U Ũ S ұ & ұ߱ › › ſ ɱ ɱ š™L ›™ f ? ձ S+ DZ S߱` ™ f Կ† iœ Կ† › ձ† Ŧ h - ›Կ - / ձ Ž ߱ & ŽS iœM ձ߱, - Š ɱ ɱ š, - ձ™ ߱h ɱ ձEA, ɱ ձ ߱ M ձh , ұ j ձ߱, ſ ձB屿 ɱ ſ S ɱ ‡ & Gh - Š, , Š B ɱ › ߱ ձ ձ U , ձ gg, ɱ ȼ x G jŦš ™ ſ ˩†˜ O ɱ >, տ} ȼ ߱ g ձ Sn, q i տ} ɱ ұ › h ձ { 7 ɱ/ ^߿ - ɿ { Š ߩ† ߱ . . g ߿ ˆſ Ѧš ɱ 26 . g š : It was the last week of Aughst 1947 when Delhi was flooded with refugees from West Punjab. I was listening to the woes of the Punjabi refugees. Who were seated on the lawn in front of the Deputy Commissioners residence at 17 Rajpur Road, Delhi, among them was a pleasant looking handsome Bengali What do you want? I asked, I am Bhabesh Sanyal, a refugee artist from Lahore. Can you provide me a studio?It was rather a tall order, However, I managed to provide him a studio in the Gole Market of New Delhi. q 26 ɱ Š S ߱ h ›‡ j ձ ɱ š 26 Gole Market, now Gallery 26, has an abiding association with my personal life It is here I began by accepting a few pupils and painting and sculpting despite all handicaps. The squalor of a market place, the stench from the neighboring fish and poultry shops, the operational noise of the next door tailor masters sewing machine, the non-stop tick-tick orchestration of the ever flowing traffic below all added up to the milieu and atmosphere which I felt was congenial to a destitute refugee artist. ߱ › š ɱ S , ſ 26 ߱ q refugee artist -- j տ h › ‡ Š ұ ŽS ˆſݼ ձ Š› v , ˦ ߿, ߿ › ߱ ˆſ R Ÿg ձŽ ›™ ӿ - Haque - Hall of Peace Ž ձ ›La j g ӿ ߱ ɱ Beggers my Neighbours, The Resting Cobbler, Clerks Returning Home, People at the Bus-stand, Refugees on the Foothpath S& 26 ›ɱ Š ߱ ɱ ˆſ ˆſ ɱ S ߱ 1949 1953 ™L Š ߿S ߱ Ѧš V ɱ ɱ ɱ - Gallery twenty Six Artists Forum. ұ A, ™L iœ ›‡ Šϼ S --- The Forum is non commercial and will remain free from political activities. The Primary objective of the Forum is to establish creative communication among the artists of different forms of plastic art. ձˆ { › տ x •1 10 2003— ˆſ ̿ S ߿ : › ձ › ɱ › |X › ‘’ ɱ h † Š š --- ..p, ̿, h, . ߱, , , , &l ̿ ұ ɱ ›ӿ ߿ ŠǼ ܿ ˆſ ɱ ̿ ұ M { ŠŽS ›‡ ‘ ` ձ ` S ߿ { ›‡ ›‡ ɱ / c տ … X DZ ձ 1950 ձ' ‘{ ŠS’ / ̿, . . ߱Ǽ ߱ ǩ† ߿S ™L ™L, ̿ h - ߿ 榤 ձ™ ‚ 1952 ɱ { ߿ ձ DZK › 1960 ™L ›‡ , , ̿, ߱, ձ * Š ϼ Ž տ , , , , .. DZ, ۿ - › † Š ›‡ ɱ ›† ›‡ ձ K ™ i { Ũ ձ- + - › ›kɱ ߱ ɱ ߱ S ɱ ߱ ձ Ũ ɱ Š 1953-56 ɼ ɱ ձ߱, ߱, , & ѦԨ ձ› ›Š Sɱ Ž X ˝ › X ɱ ɱ & ձ ɱ ˝ Sɱ ߱ ŽS : w Vɼ - 1945 ɱ Salon de Mai, 1953 , ›, † ˆ , , ˦, ɱ 1965- 豿 Sao Paslo International Congress of Art - S g : ձ ɱ DZ ɱ & ѦԨ ձ› ›Š ɱ w 1960 1969 ɱ ɱɱ ߱ ձ DZ ߱ Sϼ ›‡ ŠŽS › i } DZ Kassel ɱ Šf& ɱ, V Ž documentation › ɱ ki Tabo ɱ& 1980 ߱ ‘’ DZ ɱ 1984 Artist in Residence œ ӿ †˜ : ‘’ ӿ ɱ ‘ ’ œ œ 1988 - 89 ձ߱ Œ Hony. Citizenship › ߱ɱɱ 1990 v { › Spectra-93. 1998 - }/ ߱ › S 1999 ձ ߱ ‘™L ‚ ŏ’ ™L M ɱ ߱ Š Ž h } Š źź+ ձM , ձ › œԿM ߱ ߱ Š | * q ұ X 1980 K ` ձ ɱ Gh ɱ › ‘ œԿ’ SŠ X ߱ MԐ Š ߿ ›#; ܿ ұ ɱ ߱ › ` ձ k ſ‡ { f ɱ ձj › ™L S› › , •Trinnale— i Š › S Š ɱ ߱ ŽS › U ſ‡ ձ ɱ - › ɱ ߱ Ž { j Ÿ i Š ſM ߿ f ɱ 1976 Studio-com-workshop complex- Garhi. 1969 ߱ h K- ߱ ɱ ձE߿ ձ™ ƒ ߱ Š 5 1972 M iœ { f ɱ & Š ұ Š ߿ › ձ › œ 1981 ߱ h ߱ ɱ retrospective S › ձ 1940 1980 ™L ɱ i DZ Š š › › ӿ߱S † ձm ™L Among the artists of our time, B.C. Sanyal holds a place of some importance. His work spans half a century and he has evolved from the styles of the 1940 to the styles of the present. We find in his work reminiscences of the past and a continual growth towards the contemporary. His creation runs parallel to the changes in Indian arts as a whole and can therefore be taken as an example of the metamorphosis from tradition to modernity. ߱ ɱ ձɱ' ‘{ ŠS’- š , c ձɱ' / ݼ 1984 ձɱ' Veteran artist œ , ɱ ձɱ' / ձ š 1997 ձɱ' ձɱ' Millennium Ž La ձɱ' f Artist of the entury- œ ɱ ӿ ձɱ' Š DZB œ ‘ ڱ’ ӿ Š †˜ ž߱™L Š B œ, / 1 Ž 10 ߱ œ Ž 2001 22 ۿ› Ž { - - ɱ 99 iœ 2001 -ۼ DZ ſ l j ɱ œ h & ߱ ձ™L տj ձj #; ˦, ™ ߿ ұ Ž ɱ ߿ S › ձ ˆſ ɱ ɱ x߱ , ˦, ձR›Կ, - ‡ h Կ ߿ { ߱ ? - ›ӿ - ɱ 1940 ߱߱ K ˆſ ɱ q ɱ ձ ձ - ›ӿǿ ɿ P U ɱ 1986 ™ - ? ӿǿ ɱ Կ / K ձ c Ž ӿǿ h ɱ ձ ұ ߦš g ӿ ߿ ‹ ұ ߱ { ձ- iœ›l ӿǿ ɱ ߱ - / 1936 ɱ & Ѽ B › ձEA ɱ` ˆſ ›' Š + ɱ Š' V Š ߱ › ձR›Կ h ձ ߱ ձ, ߿m, f ձ K& {ɼ h ‘ vɱ ’, ‘ ’, ‘ ɱ ’, ‘ S’ & ɱ Š › Ž †, j Š ߥ & ɼ ɱ Š ߿ ™ ߱ › ™ Š ߱, ›Կ ›Կ ߥ ‚U ' S Ǽ › ™ Š ɱ Š ߱ › Š Ũ ձ ߱ 榤 ˆſ Ž›l › Ž M ұ › ߱ ɱ ӿi Ž ӿ߱ K ˆſ, ɱ ‹ { ձ ŽS Ž, տ Ž XZ q S ɱ , ɱ /, , ߱, , h Š Ž X, i Ši / Š S™L ձ› / Ž ߱ ߿ f ұ › ۿ ɱ Š Z , & ›‡ h S i ? ǿ, ߱ ұ Ǽ Š i & w › ɱ Կ† ձm So we see that from the point of view of development, Sanyals art moves of from an early idealistic but comparatively tentative art, through a more painterly style, to our of greater imagination and introspection. Sanyals paintaings, I suggest combined with or grew out of three strains of art, the academic, the Indian and the surrealistic. ɱ ™ S ˝, q s = ›™L d S+ › ™L ߿ ձ߱ Š ߿ տ S+ ſ ɱ g ɱ Կ† ǿ •semi-abstract— Sϼ ұ Ši & --- ձ߱, ɱ & w › ™L t S& ұ ɱ ſ ձ ɱ ߱ Š ձ߱ ձ , ɱ q Š ߿ {, & ɱ › › 1929 ܿ ǿ ɱ ? ձDZ ɱ , R g, f›, ߱ g, ձ , ž Š ߱ ž ›ӿǼ The Vertical Woman ɱ ߿ Ǽ `h Šǿ ɱ 1958 K ˆk ߿ ߱ ձ K 䱿 B, › ɱ › ɱ ߿ ߿ ӿ ձDZ ߱ ߿ ϼ ߿ š ұ ұ ձ ұh ձ ӿ S ™L ™L ߿ ɱ Grief ӿ ɱ ɱɱ ›Ӽ ǿ Gh ߿ › ™ ɱ d DZ ›Ž ߱ j ߿ † , Ŧš ߿ ߱ & , ‘/ Ũ’- ߱ S ձ + ձ 1939 - ߱ Harijan Girl, 1945- , Outcast, Bengal Famine, 1948 Srinagar 1980 S Shrouded Woman DZ › S Srinagar + •flat— ձ ߱ ۿ ߿ i S Crows in Plum Blossom Himalayam Escape U , c ߿ ߱ S š ߱ ߿ S M ›ˆ ŽS տ Scare Crow & DZ Fluidity, A Glimpsed, Ligher Hue, Drama in Sky, Evening Glow, Approaching Sunset, Waves and Mist, Dark Mountains, Floating Mountains, Sketchy view, Dream view, Temple Tree, Garden Corner, Distant Park ɱ ɱ S DZ ſk ſ Ž i S Š DZ I Flykite (1970), Amba (1980), My Mother, Mrs. Sanyal, Self-Portrait, Ascending Old Man, with Bird, & ձ, › S 榤 ұ ɼ Mountainscape, Mountains 86, Mountain Fields, Mountain 2000, Mountain with Tree 96, Mountain 1999, Abstract 1999, Seascape 91 (all in oil Colours) i ұ߱ & ɱ ›Կ, ›Ͽ ձ ɱ h, 2003 h, ձɱ' - ձ S › › տ ձ ձ h ˦ , ձ߱ ձ ձ ߿ ɱ - ձ Q ˦ 10 ۿ› 2000 ұ ɱ š DZ h / ձ ɱ ſ B/ / ‡ q K jŦš a / ҿ ›Ÿ ſ - : ™L Š 9 2003-, Š ߿ Կ†
Zoom In | Zoom Out | Close | Print | Home
