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THE POWER 4 OF THE PRINTED IMAGE In principle a work of art has always been reproducible . Mechanical reproduction of a work of art, however, represents something new. Walter Benjamin, Illuminations, 1955 THE RISE OF PICTORIAL JOURNALISM Art schools and art societies, the new institutions that helped to establish the supremacy of academic art in Bombay and Calcutta, enjoyed Raj patronage. But there were modern innovations, namely printing technol- ogy and the processes of mechanical reproduction, that flourished independently of the government. These means of mass communication made further assaults on Indian sensibility, turning urban India into a 'visual society', dominated by the printed image. They affected equally the elite and the ordinary people: lithographic prints served a mass market that cut across class barriers, while pictorial journalism became an indispensable part of literate culture. The educated enjoyed a rich harvest, of illustrated magazines, picture books for children and cartoons. The . appearance of high-quality plates lent greater credibility to writings on \ art. As printing presses mushroomed, these publications reinforced public taste for academic art. The mechanical production of images opened up endless possibilities for the enterprising journalist. Graphic artists, for instance, served their apprenticeship as illustrators and cartoonists on magazines. For a remark- able flair in blending literary and illustrative journalism we must turn to the brilliant early practitioner, Ramananda Chatterjee. His career co- incided with the Bengal Renaissance and the founding of the Indian National Congress in 1885. In 1909, the influential editor of the Pall Mall Gazette, W. T. Stead, paid a tribute to this pioneer: the sanest Indians are for a 'nationhood of India', undivided by caste, religion or racial differences.
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