REVISITING RAY AT ACADEMY

At the North Gallery of Academy of Fine Arts in Calcutta, an exhibition on Satyajit Ray, started from 19th January, 2008. It’s likely for the first time Calcuttans are experiencing Satyajit’s days (1940-1950) at D.J.Keymer, the reputed advertising agency which was situated at Calcutta. Ray’s layout of ‘Jabakusum Hair Oil’ reminds one of Calcutta in 1940’s and 50’s. There is a unique collection of title cards from Ray’s film ‘Kanchendzonga’ (1962). Ray himself had drawn the pictures and had used a font looking similar to that used in Sikkim and Bhutan. This shows how much complete he was in making a film. The original exhibit of Ray’s design of ‘Ek-khon’ magazine’s cover, made from a simple paper, hand cut and not cut by scissors, gives idea of his imaginative powers. Then there were those inventions of fonts namely ‘Ray Roman’, ‘Bizarre’ etc (1976-77) literally forgotten by the common men today. A close look at the 'Holiday Script' tells you how descriptive he was in communicating the leisurely mood of a man free from his daily commitments. Viewers are aware how Ray explicitly made diagrams detailing each step his camera and crew members would follow much before he had communicated his plans to his fellowmen. One can appreciate details of such schedule while he was filming ‘Sonar Kella’. At the bottom of this poster you will find scribblings like KAMU, R.K made by Ray. It is likely he was recalling his favourite anti-hero Kamu Mukerjee.

Ray had gathered immense practical knowledge and technical ability in visual art while working at D.J. Keymer. He had literally toyed with every branch of arts and fine art before his final productive years in films disapproving the saying that rolling stone gathers no moss. His noteings in pencil like ‘Reduction’ on cover design of his book “Badsahi Angti” (1966) , ‘ 5 ½’ , ‘on zinc’ on the layout “Halum” , ‘pashapashi dui patai jabe’ (eng. To be covered in two pages) , ‘9``’ on the layout “Hatyapuri” are examples of his in depth knowledge in printing and book designing. Even he has made a note in pencil ‘Pierce’ , where to put the binding material. He kept a note of all his thoughts, even what not to do. On the layout of book “ Hypnogen” he wrote ‘Ei blokta kalikai pathano hobe na’ (eng. This block is not to be sent to Kalika). Even the size of the block ‘12``’ is seen noted. The unused hoarding design of his film “Devi” (1960) is a rare display. You will be surprised to know that even the half moon shaped glass window on the door you see in his film “Ghare Baire” was designed by him. If you look closely at the layout planned by him on the sets of “Goopy Gayen, Bagha Bayen” you will find intentionally lightly sketched with a pencil, pictures of three spotlights, placed at different angles. Only a detailed research will enlighten us about his plans. He was keen in detailing the wizard’s room in “Goopy Gayen…”. The film being in black and white, he has used only a pencil in his sketching. A diagram of two rectangles put one above the other at right angles to each other, occupying the upper right corner of this layout is a mystery. How he has used the road plan of Darjeeling in his film “Kanchendzonga” tells us how scientific and logical his mind was. Of all these drawings, a small sketch of a sculpture from Ellora caves in Maharashtra, will tell you how matured his fingers were when he was barely twenty.

A film poster designed by him for the film ‘Satranj Ki Khiladi’ (Chess Players), which was finally not used by Ray, deserves a look because even the discarded ones from this master look the best in the world. The bold letters bearing the name of the film resemble the pieces on a chess board expressing completeness in his imagination. His imagination showed immense restraint that never went naive. Similarly the fonts used in the cover designing of the book "Birbaler Galpo" (eng.Story of Birbal) mimic the Urdu script simply because Birbal was a Musalman and spoke Urdu.

Credit goes to the organisers undoubtedly but Sandip Ray, Ray's son, who is also a film maker, deserves a praise without prejudice for carefully and meticulously preserving Ray's originals. Hats off to him. ( See posts in VISUALS. Photographs courtesy Ray's exhibition. )

FORGOTTEN and UNCARED FOR

There are innumerable reasons why people forget a place. There is no dearth of such places in Calcutta. Some of them are remembered once a year with much enthusiasm. Let us have a positive attitude towards them. The only way to avoid losing them for ever.

VISUALS

"Amrita Sher-Gil's house at Kasauli" read FACTS NEWS VIEWS

"Sculpture from Ellora Caves (1941)" Read REVISITING RAY AT ACADEMY

Read REVISITING RAY AT ACADEMY
"Story of Birbal's cover design" Read REVISITING RAY AT ACADEMY
Unused poster of film "Devi" (1960) Read REVISITING RAY AT ACADEMY
"Unused poster of film Satranj Ki Khiladi" Read REVISITING RAY AT ACADEMY
Read REVISITING RAY AT ACADEMY

"Ek-khon" magazine cover design. Read REVISITING RAY AT ACADEMY
Read REVISITING RAY AT ACADEMY
"At D.J.Keymer" Read REVISITING RAY AT ACADEMY
"Title card of film Kanchendzonga" Read REVISITING RAY AT ACADEMY

"Dance of Ghosts from Goopy Gayen..." Read REVISITING RAY AT ACADEMY

"Drawing from Prof.Shanku's Book" Read REVISITING RAY AT ACADEMY

Read REVISITING RAY AT ACADEMY
Old Deputy Commissioner's office at Karwar, India now turned into Dy.Superintendant of Police's office.Tagore stayed here. (Read FACTS NEWS VIEWS post)







A gift of appreciation from Tagore on release of O.C.Gangoly's Hindi book of poems (1936). It read " I am happy to see your book containing poems and drawings.I congratulate you for this effort. "

( Read article "Advancement of modern art in Europe by O.C. Gangoly" )

GUEST POST

BOOKS and BOOKS

A cultured, honest, serious bibliophile never forgets a book which is truely worth reading. Only the book gets buried deeper into ones intellect with passage of time. This post reminds you of those unlucky ones, vanished from the bookshelves, for lack of sensible readers.

"Jiboner Jalchabi" written in Bengali by Prativa Bosu, wife of Late Buddhadev Bosu, is likely the last authentic insight from the poet's closest quarters. Married to Buddhadev in 1934, after she fell in love with this literary giant at Dhaka University, this book tells you about the poetic horizons this Adonis travelled and adorned. Her sincere effort reminds you that there are a few things which only a caring spouse can reflect. Published by Ananda Publishers, Calcutta and priced at Rs 150 will painfully convey to you that this book presently has no English translation. The book is catalogued as ISBN 81-7215-214-0. This book is unlucky in the sense that it loses a bulk of English language readers. Is any responsible translator reading this blog ? (also read 202 from FORGOTTEN AND UNCARED FOR) (read FACTS NEWS VIEWS for more about Buddhadev Bosu)

TAGORE'S ART OF PAINTING (by Pramode Kumar Chattopadhyay)

[This article appeared in the magazine 'Nachghar' (eng. The dancing room) in bengali in the year ( Bangla year 1348, in the month of Bhadra). It was the sixth issue in that year in which this article was published. It consisted of four pages . Nachghar was a little magazine which started its journey in 1930 (from http://www.srishtisandhan.com/)

Both in the East and the West, the last few years had witnessed, his art being discussed. Not only in Bengali or the English language, the discussion is on in other languages too. The poet enquired about these views, the views from both the ordinary and the most literate critics. He would appreciate all these criticisms and would love collecting them.

I believe, that whosoever discusses or criticises Tagore's art, is bound to find the poet's personality influencing his thoughts. It's not unusual and now after poet has voluntarily taken the journey to court his death (beng. Mahaprasthan) (after poet's death) his influence can be felt more intensely. For those who have met him , he still exists physically. His such physical existence in the mind of those who had loved him and still do, will continue till the nature's way of the act of disappearance come into existence. The following example will not be impertinent here.

I had been to Purna Theatres to see a movie 'Parichay', yesterday. Just before the cinema a newsreel film showing Tagore delivering a speech at the Viswabharati University, on the occasion of his eightieth birthday, literally electrified the audience. Such emotional peaks of nervous stimuli can only be felt and never appreciated in words. When the poet spoke that he will continue to exist among those minds who had loved him, results in tears amongst his passionate readers, unmistakenly. I could feel tears rolling out of my eyes. I believe the audience at this juncture of viewing forgot that Tagore was no more with us. This is the reason that I earlier said its impossible to separate his influence while reviewing his art forms.

When Tagore started painting, he regularly discussed about them with Abanindranath. His studentship under the latter began following the western form of art. Before Abanindranth had embraced the Oriental form of painting he started with the westrn form and was devoted to it. After winning the Nobel Prize Tagore had visited Europe more than once. On each visit he had not only seen the western paintings but also appreciated them. He was aware of the progress of the different works of art in the west and felt the innermost significance of each of them. He knew of the fundamental inspirations these art forms had acquired from. Tagore's paintings provide a clear expression of it.

Tagore's life and thoughts were inseparable from two art forms, the literature and the music. Painting took the second seat. He wrote, while in Shilaidaha, he would find dusts from the eraser accumulating by his side before he could find his pencil drawing taking a shape. His thoughts behind his drawings would often not materialise. A sense of hopelessness arose under such situations. But he kept his strong feelings and sharp insight sensitive to all that was being produced in the mother nature's lap. It may not have been possible in the world of paintings but his writings produced diverse pictures of mother nature in details. Where can you find such explicit descriptions of heavenly nature which ornamentalise his poetries and proses?

He had visited innumerrable countries and such visits which were voyage like, helped him in appreciating paintings and sculptures which were in fact condensations of extraordinary human powers. He had that inquisitive mind of an artist and it was easy for him to witness literally all forms of art in Europe. Since his adulthood he became interested in Europian realsim. Idealism, Impressioism, Post Impressionism or Futurism or even Cubism were the fields he paid immense attention to and he enjoyed them may be better than many an European artist. Every artist bears an inherent knowledge behind each piece of art he produces not easily visible to the viewer. It is the knowledge of procedure, method and collection of the ingredients which would ultimately produce that piece of art. But his inherent sense of art and his persistent urge to improve filled his deficiencies .

He kept a close watch on the happenings in art which took place at his home. But he was equally aware of such happenings in the west and the east. He knew of the paintings in Japan, China, Java, Iran, England, France, Italy, Germany, Hungary, Poland too. He was nourished by thoughts from the west and it helped Tagore's ideas to bloom. Only a few could gather so much idea and experience from ones trips abroad.

He had an exceptional power of observation extending into every field of art and this helped him in selecting his technique. By that time European realism and Eastern Idealism have become customary and taken a commonplace. The poet has no intention to tread the common path. In India, at that time, two popular forms of art were in vogue. One of them was European Realistic Art and the other Oriental Art or Indian Art. It is likely in 1922 Gaganendranath started Cubism in India. This inspired Tagore. It will not be impertinent to mention here that Gaganendranath showed enough courage and zest to introduce Cubism in India. The common viewers are not yet aware of the influence of Gaganendranth on Indian art and only the art historians will be able to convey the true fact behind it. Tagore had discussed with the art critics about the developement of art in the west and he made it clear that he would not stop at it. But still when he started painting, he started with help from the western techniques. It is probably the reason why we find so much influence of Post-Impressionism or Futurism in Tagore's art. He did not use oil because it was a difficult technique to follow. He used pen and ink and sometimes a thin mix of water colour in producing his art. We don't find a riot of colours in his paintings while there is a use of bold strokes in ink. We have spoken about the influence of the west because there is an influence of Picasso, Pizare and Kazan found in his art. But still there is a space left in the appreciation of his art. We find a direct influence of nature in his writings and music. While in his art we find the influence of the child in him.(To be continued)

ADVANCEMENT OF MODERN ART IN EUROPE by Ordhendra Kumar Gangopadhyay (O.C.Gangoly)

(The article was originally written in Bengali and published in several parts in the literary magazine ‘Bishan’ in the year 1936 (Bangla year 1343). A little magazine with its office at Bowbazar Street, Calcutta, Bishan easily boasted on its editorial board luminaries like Dr. Kalidas Nag D.Lit(Paris),Dr.Jatindranath Sen P.R.S, DSc, Suniti Kumar Bandopadhyay PhD(Edinburgh). Asit Krishna Mukhopadhyay PhD(London) was the editor. The magazine was priced at one anna per copy in the year 1936 and offered a discount if subscribed yearly. This is a translation of only the fourth part of the article.)

In London just before the war (WW1), in March 1914, a new movement in the field of art called ‘Vorticism’ was born. In fact this school was protesting Wassily Kandinsky’s lack of construction. It rose from the idea of two contemporaries Wyndham Lewis from London itself and Henri Gaudier-Brzeska, a young sculptor from France. He died in war on the fifth of June, 1915. From the trenches he wrote two articles published in ‘Blast’ a magazine which belonged to the Vorticists. Some ideas about this school of thought could be made of from these two articles and from some writings of Lewis. They objected to the static form of geometry in Cubism while on the other hand they evaded the ideas of dynamism in Futurism. Nevinson who was a follower of Vorticism often had his ideas returning to dynamism, thus making this school of thought often ambiguous. At one time Kandinsky’s ideas, uplifting from his theory of ‘lack of construction’, neared Vorticism. Proof lies in the writings of Brzeska and from some writings of Lewis in Blast.

Every work of art or artistic imagination is bound to share some resemblance or similarity with another work of art. But one must not exactly imitate the beauty of the nature. The logic behind this truth is that the joy and feeling on visualizing its beauty cannot be copied or imitated in exact likeness. The only way of doing it is through one’s complete unification and salvation with the beauty of the nature. Appreciating this statement can only be done when one truly understands the Vaishnavite philosophy. While thinking of Radha and Krishna one loses his oneness and starts believing himself to be Krishna. It is like losing ones individualism when in love with someone. But the philosophy of oneness in Vorticists was a bit different. They wanted to fathom the true beauty of the nature which formed the foundations of the beauty that an ordinary human being witnesses.

Let us appreciate the philosophy the Vorticists pronounced through their own words or statements. “The inner beauty of an object at times is beyond the reach of the simple thoughts and often contradicts or opposes the virtual beauty we appreciate. The external or the outer beauty of an object may not truly communicate or realise its inner true beauty. The importance of it’s external beauty, its weight, may not be the same as it’s scientific truth. The sky does not project its true beauty under the covering of the light. If by sheer imagination we can bring into balance and regulate the different forms and beauties of the external world it may seem like dreaming. The sole object of the practice of art is to express the beauties of life, the different forms it takes, through this world of imagination. Imitating bluntly the haphazard way in which nature unfolds its beauty expressing its innumerable forms and to jot down all of them is an audacious venture I am in. The logic of nature’s beauty cannot be conceived in writing. Even the slightest imagination can’t be had of it. In no way can the spiritual weight of an object be felt, by the art of copying.” These complex sentences within the quotes do not clearly portray the thoughts of the Vorticists. It is likely that their main thoughts and thinking lie within the world of ‘spiritual weight’. Every object has a fundamental, elemental and essential beauty encased within its external one. I feel that Vorticists intend to express this primary form of beauty. Every object’s existence or entity, its sense of beauty, projects itself in a sensible viewer’s mind in its fundamental form. The science of dynamics states that every object in a circular motion produces a centric form of energy at the centre of the pathway the object follows. The energy is maximum at the center. This powerful bright centric force, a centric force of thoughts, of beauty is called the vortex (point of maximum energy). The Vorticists believed that every individual object has some form of basic, intrinsic, primitive, fundamental form of beauty and their motive was to find out this true inherent beauty and express it in the form of an art. Their form of art worship had no place for imagination or over expression. So this school , I mean Vorticism only had a simple, erect, bare naked machine like truth to express without any form of ornamentation.

The heroes of Vorticism were Edward Wadsworth and C.R.W Nevinson. “Rotterdam” is a representative piece of work in the field of Vorticism. Brzeska’s sculptors truly express their thoughts. This young sculptor’s stonework named Ezra Pound was effective in expressing the inherent accumulated power in the persona of Pound and provided a unique form of beauty. While Vorticism went on developing Cubism in a new form, centering around England before the first world war, a separate group of five more artists in France were drowned in similar thoughts. They were Brancusi, Robert Delaunay, Henri Laurens, Jacques Lipchitz, LouisMarcoussis and Juan Gris. They were trying to free first generation Cubism. But Gris could never free himself from Cubism.

Delaunay had produced in 1925 a painting on a scene on Eiffel Tower. This decorative piece of art ushered Cubism into a new and worthy way. But the most worthy of all the artists in this group were Laurens and Brancusi. Their ideas followed the school of thought of the Vorticists. Brancusi’s imagination and his continued search for the fundamental beauty in an object often led to a meaningless world. In 1925; his imagination of a ‘flying bird’, with its head and tail removed and the torso only represented by a torpedo like cylindrical object, brought immense controversy in the field of art. He fixed this on a square shaped pedestal and made it more pronounced. The United States of America’s import law at that time exempted any work of art from paying taxes. The customs’ officer on seeing this object did not believe it to be a piece of art and suggested that this raw alloy should attract a lump some duty. Finally the matter ended in a court battle where the customs official commented that not even a mad hunter would like to kill this bird. Brancusi won this case at last and the orthodox old art critics had to face it.

The Vorticists sincerely tried to extract the true inner beauty of an object. There are such extensive examples in the field of ancient Indian sculptures. Brzeska has analysed different procedures followed in ancient sculpting and had showed that this tradition had been in existence since long. Young sculptor Brzeska of this new era had only followed this ancient tradition.

“ Art lives on tradition, of which contemporary culture is nothing but the last development” ( Bell )

All forms of art exist devouring nourishment from old forms. Modern arduous endeavour is only a consequence of the ancient form. It is the last wave arising from the sea of innumerable endeavours.

Foot notes in English used by Prof.O.C.Gangoly in this article :

(1)“ I have been told that Kandinsky is a very great painter, That his lack of construction is a magnificent quality, that he has hit something new. I agree with these colours set free, so to speak- have an effect of mirth. This is a very slight emotion nevertheless. My temperament does not allow of formless vague assertions.” All that is not like me is evil;” so is Kandinsky” Gaudier Brzeska.

(2) “ They began with the theory that every painting must be in some slight sense representative season for not imitating nature is that you cannot convey the emotion you receive at contact with nature by imitating her, but only by becoming her…..

The essence of an object is beyond and often in contradiction to, its simple truth….The sense of objects, even, is a seuse of the significance of the object and not its avoirdupois and scientifically ascertainable shapes and perspectives. If the material world were….. organized as in the imagination, we would live as though we were dreaming. Art’s business is to show how then life would be…Imitation, and inherently unselective registering of impressions is an absurdity. It will never give you even the feeling of the weight of the object or scene which is its spiritual weight” Wyndham Lewis.

(3) “Every concept, every emotion presents itself in the vivid cousciousness in some primary form. It belongs to the art of this form” Gaudier Brzeska.

(4) ‘It is that a Vorticist believes that there is an absolute quality, a spiritual or essential characteristic in every object, and he strives to express this while his emotion over discovering it is red hot; and his means is purged of sentiment, elaboration or ornamentation and tend to a special rigidity and machine like hardness”

Additional notes from Pinaki Lahiri :

In this excellent article by Prof Gangoly there are innumerable printing mistakes done by amateur proof- reading especially in little magazines in those days. The mistakes are shown in bold words. The word ‘season’ should mean ‘reason’, ‘seuse’ by ‘sense’ and so forth. But only once did this great connoisseur make a mistake in sheer hurry. He wrote" five artists in France…" But he mentioned names of six of them.