Nandalal Bose had the distinction of being mentored by both Havell and Abanindranath Tagore. His oeuvre speaks volumes about his artistic capabilities but it is also underlined by a sense of responsibility towards shaping the mind of a country. His nationalistic impulses found beautiful realization in his works.
Nandalal Bose was born in, what is now Bihar (India), in December 1882. After completing his primary education in Bihar he was sent to Calcutta to continue his education. The fact that he was not cut out for conventional academia was pretty evident from his unsuccessful brush with higher education. His stint with academics convinced him that there is only one thing in life for him, Art.
The Genesis
The works of Abanindranath Tagore fascinated the young painter in Nandala Bose and he was firmly resolved to be the student of the creator of ‘Buddha’, 'Sujata' and 'Bajra-Mukut'. He hesitantly approached Abanindranath Tagore with some of his paintings. Tagore was not only impressed but was intrigued to see such a mature approach towards Art in someone so young. The lines of his paintings exuded confidence and the themes were both bold and experimental. He quickly passed on the paintings to his good friend Havell, who wholeheartedly approved too.
Thus began the symbiotic relationship between a teacher and a student or more importantly, two painters.
The synthesis of schools in Nandalal Bose Paintings
Nanadalal Bose’s creativity spoke many languages. It was a blend of India’s artistic traditions and several contemporary styles. The Sino Japanese influence (his interaction with Japanese painters in Calcutta proved to be a fruitful experience) gave complexity to his otherwise simplistic soulful expressions.
One can hardly categorize his works under any particular school. While his project on Ajanta frescos showed his inherent capacity to deal with lines and had an air of classicism. The flat spaces of Mughal Paintings and Rajasthani paintings find their way into his work in the “Kala Bhavan” leg of his career.
The Sabari Paintings had a distinct post-impressionist air, with its jagged lines and belligerent strokes. The “Chaitanya series” and 'Haripura-Posters' were an exquisite ode to the Bengali Folk tradition.
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