Jamini Roy & Somnath Hore
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LIST OF NEWLY REGISTERED DEALERS FOR THE PERIOD FROM 01-DECEMBER-08 TO 16-DECEMBER-08 CHARGE NAME VAT NO. CST NO. TRADE NAME ADDRESS ALIPUR 19604024078 19604024272 BAHAR COMMODEAL PVT. LTD. 16 BELVEDRE ROAD KOLKATA 700027 19604028055 MAHAVIR LOGISTICS 541/B, BLOCK 'N NW ALIPORE KOLKATA 700053 19604027085 P. S. ENTERPRISE 100 DIAMOND HARBOUR ROAD KOLKATA 700023 19604031062 19604031256 PULKIT HOLDINGS PVT. LTD. 16F JUDGES COURT ROAD KOLKATA 700027 19604030092 19604030286 R. S. INDUSTRIES (INDIA) 26E, TURF ROAD KALIGHAT 700025 19604026018 19604026212 RAJ LAXMI JEWELLERS 49/1 CIRCULAR GARDEN ROAD KOLKATA 700023 19604025048 19604025242 SAPNA HERBALS & COSMETICS PVT. LTD. 12/5 MOMINPUR ROAD KOLKATA 700023 19604029025 19604029219 SOOKERATING TEA ESTATE PVT. LTD. P-115, BLOCK-F NEW ALIPORE KOLKATA 700053 19604023011 SURFRAJ & CO. F-79 GARDENREACH ROAD KOLKATA 700024 ARMENIAN STREET 19521285018 19521285212 M/S. TEXPERTS INDIA PRIVATE LIMITED, 21, ROOPCHAND ROY STREET, 3RD FLOOR, KOLKATA 700007 19521286085 19521286279 TIRUPATI ENTERPRISES IST FLOOR, 153, RABINDRA SARANI, KOLKATA 700007 ASANSOL 19747189094 ARCHANA PEARLS 8, ELITE PLAZA G.C. MITRA ROAD ASANSOL 713301 19747194041 ASANSOL REFRIGERATOR MART 46 G.T. ROAD, DURGA MARKET, GIRIJA MOR ASANSOL 713301 19747182013 AUTO GARAGE FARI ROAD BARAKAR, ASANSOL 713324 19747178036 BADAL RUIDAS VIA- ASANSOL KALLA VILLAGE, RUIDAS PAR KALLA (C.H) 713340 19747175029 19747175223 BALBIR ENTERPRISES STATION ROAD BARAKAR 713324 19747179006 19747179297 BAZAR 24 24 G.T. ROAD (WEST) RANIGANJ SEARSOL RAJBARI 713358 -
How Jamini Roy Found a Home in Baker Street Nirmalya KUMAR Singapore Management University, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Knowledge at Singapore Management University Singapore Management University Institutional Knowledge at Singapore Management University Research Collection Lee Kong Chian School Of Lee Kong Chian School of Business Business 1-2014 How Jamini Roy found a home in Baker Street Nirmalya KUMAR Singapore Management University, [email protected] Follow this and additional works at: https://ink.library.smu.edu.sg/lkcsb_research Part of the Arts Management Commons, and the Asian Studies Commons Citation KUMAR, Nirmalya. How Jamini Roy found a home in Baker Street. (2014). Re-imagine: India-UK cultural relations in the 21st century. 118-134. Research Collection Lee Kong Chian School Of Business. Available at: https://ink.library.smu.edu.sg/lkcsb_research/5261 This Book Chapter is brought to you for free and open access by the Lee Kong Chian School of Business at Institutional Knowledge at Singapore Management University. It has been accepted for inclusion in Research Collection Lee Kong Chian School Of Business by an authorized administrator of Institutional Knowledge at Singapore Management University. For more information, please email [email protected]. SMU Classification: Restricted How Jamini Roy Found a Home in Baker Street Nirmalya Kumar I was educated in India in the 19705 and early 19805, a time when it was difficult as a teenager to be truly proud of being Indian. The British had left in 1947; and thirty years of post-independence following the socialist model, had left the economy in a shambles. As a result, many educated youngsters escaped the perceived constraints of India to seek their fortunes in the West, especially in the USA. -
PAINTING (New Pattern) Subject Code *H505*
*H505* 2018 III 19 1000 Seat No. : Time : 2 Hours PAINTING (New Pattern) Subject Code # # 0 Total No. of Questions : 4 (Printed Pages : 3) Maximum Marks : 40 1. A) Write short notes on any one of the following : [2½] i) Adornment of Bride. ii) Raja Ravi Verma. iii) Pahari school. B) Look at the picture below and answer the questions given with reference to the picture. [2½] M O T H E R T E R E S A P a g e N o : 1 1 4 i) Who has painted the picture ? ii) What is the title of the painting ? iii) Where is the painting now displayed ? iv) Which medium has been used by the Artist to paint the picture ? v) What is the size of the painting ? C) Fill in the blanks with correct answers given in the brackets. [5] (Royal, Blessings, Pahari, Gestures, 19th CAD) i) Rajasthani painting flourished from 16th to ___________ ii) The ___________ school narrates Indian mythological and religious stories. iii) Ravi Verma belonged to the ____________ family of Travancore. iv) A devine light is pouring down to Chaitanya suggesting the ____________ v) Adornment of Bride was achieved by the use of hand ____________ H-505 -1- P.T.O. *H505* 2. A) Answer the following questions in a single sentence. [5] i) Which colour is mainly used in Warli painting ? ii) Where did the N.S. Bendre studied ? iii) How was Amrita Shergil influenced ? iv) What did Jamini Roy rediscovered ? v) How did earlier picture were drawn ? B) Tick the odd one out. -
Modernisms in India
Modernisms in India Modernisms in India Supriya Chaudhuri The Oxford Handbook of Modernisms Edited by Peter Brooker, Andrzej Gąsiorek, Deborah Longworth, and Andrew Thacker Print Publication Date: Dec 2010 Subject: Literature, Literary Studies - 20th Century Onwards, Literary Studies - Postcolonial Literature Online Publication Date: Sep 2012 DOI: 10.1093/oxfordhb/9780199545445.013.0053 Abstract and Keywords This article examines the history of modernism in India. It suggests that though the dis tinctions between modernity, modernization, and modernism are particularly complicated in the case of India, they remain crucial to a historical understanding of the ‘modern’ in all its senses. The article argues that the characteristic feature of Indian modernism in In dia is that it is manifestly social and historical rather than a hypostasis of the new as in the West. It contends that modernisms in India are deeply implicated in the construction of a secular national identity at home in the world, and in this respect answer a historical need to fashion a style for the modern as it is locally experienced. Keywords: modernism, India, modernization, modernity, national identity, hypostasis THE distinctions between modernity, modernization, and modernism are particularly com plicated in the case of India, but remain crucial to a historical understanding of the ‘mod ern’ in all its senses. Modernity, as a social and intellectual project, and modernization, as its means, are associated with the influence in India of Europe and of Enlightenment ra tionality from the eighteenth century onwards. Modernism, as an aesthetic, is far more limited in period and scope. Nevertheless, just as recent cultural criticism has proposed the existence of ‘alternative modernities’1 not native to the West, so too our attention has been drawn to ‘alternative modernisms’, or ‘modernisms at large’.2 The question of peri odicity, as of location, is complicated by the historical fact that modernism as an aesthetic was simultaneously restricted and elitist, and international and democratic. -
8 Pioneers of Contemporary Indian
Pioneers of Contemporary Indian Art MODULE - 3 Introduction Contemporary Indian Art 8 Notes PIONEERS OF CONTEMPORARY INDIAN ART At the beginning of 19th century under the influence of the British Raj, Indian art displayed a general decline. The craft and techniques of fresco and miniature paintings which were unique in the history of art, were nearly lost. Miniatures were ousted by European oil painting. Towards the turn of the century, traditional Indian painting faded out and it was the time for Indian artists to look at their heritage with positive approach and advance from the earlier European Colonial Art. Raja Ravi Varma of Kerala was famous for his paintings of mythological subjects and portraiture. His works showed western influence in his oil paintings. On the other hand, Abanindranath Tagore tried to recreate a new style in painting. Nandalal Bose, Benode Behari, and few others followed this newly awakened sense of nationalism. Thus emerged the Bengal School in the first half of 20th cen- tury. For subjects, they found their inspiration from Indian classics and mythology. They rejected the western realism and preferred to use idealism of Indian Art. Jamini Roy gave a modern form to folk art and Rabindranath Tagore intro- duced expression in his painting. These artists experimented with traditional water colour techniques using Indian and Chinese styles and also sought inspiration from miniatures, frescoes and folk art. Later, artists like Amrita Shergil drew on both Western and Indian traditions. Her contribution in the field of art retains her unique position as the first lady of the modern Indian art. -
The Silver Series - 3
DAG : THE SILVER SERIES - 3 THE SILVER SERIES EDITION 3 6 - 10 JULY 2020 10% SALE PROCEEDS TO 1 DAG : THE SILVER SERIES - 3 THE SILVER SERIES EDITION 3 100 ARTISTS ² 100 WORKS Modern and Contemporary Indian Art 6 - 10 JULY 2020 FIXED-PRICE ONLINE SALE The Silver Series is DAG’s initiative towards raising funds for charity through its fixed-price online sales For further information please contact us at [email protected] 1 DAG : THE SILVER SERIES - 3 FROM ASHISH ANAND’S DESK Hundreds of great artists have marked every decade of the twentieth century, which is why I have always been surprised at the invisibility of so many of our masters. Painters, sculptors, printmakers, teachers, they have made a name for themselves, but in the absence of their work being shown nationally—rather than regionally, as has been the norm—many have remained outside mainstream discourse. At DAG, it has been our effort to ensure their rediscovery and recognition, something we continue to do with our Silver Series, fixed-price online sales. The outstanding success of the first two editions is an indicator that art-lovers also have an appreciation for lesser-known names, as well as those whose works do not appear frequently in the market. Our endeavour with every edition will be to continue to surprise you with the mix of artists and the quality of their work. I hope the additions in this edition will bring you joy. If you miss any favourites, I assure you that you will find them in subsequent editions. -
0Oc' " G TH^ ^ W R Ja P , Vacancy H S H O Rt News Publication Agenda Programme
0oc'"G TH^^W Rjap, o M M f s NEWSLETTERS 1 9 9 7 /fIstitute for As NETHERLANDS,TELEPHONE: +3,-71-527 22 27, TELEFAX: +31-71-527 4, 62, E-MAIL: , I AS N E WS @ RU L L ET. Le i d e n U n . v. N L_ P.O. BOX 9515, 2300 RA LEIDEN, THE Program m e Agenda Publication Vacancy HShort News ASIAN CULTURE GENERAL NEWS INSULAR SW ASIA The HAS is expanding slowly, At the time o f the French conquest II AS in 1895, Madagascar was already nationally as well as inter The HAS has opened a new branche a well-organized political state. nationally. Nationally, 1996 was office in Amsterdam. In 1923 young Harm Kamerlingh the year o f the deepening o f the When and how was this state born? 49 base. HAS Director. Professor Dr Rafolo Andrianaivoarivony Onnes joined his uncle D olf on Wim Stokhof, explains how this attempts to answer these questions. a voyage to Indonesia. His letters ESF ASIA COMMITTEE and sketches give us a glimpse of has been achieved. News from the ESF Asia Committee 24 Q 25 the colonial world o f Indonesia and East Asia in the 1920’s 5 2 The last decade in the run-up to the twenty-first century has been AKSE SOUTHEAST ASIA 26 O 33 particularly intriguing for its News from the Association o f contradictory but concurrent Korean Studies in Europe. centripetal and centrifugal EAST ASIA 54 impulses. As communities grow increasingly interconnected, E AS AS proclamations o f distinctiveness The i st meeting o f the European and exclusivity become more a I Association for South Asian Studies. -
THE WEST BENGAL COLLEGE SERVICE COMMISSION Vacancy Status (Tentative) for the Posts of Assistant Professor in Government-Aided Colleges of West Bengal (Advt
THE WEST BENGAL COLLEGE SERVICE COMMISSION Vacancy Status (Tentative) for the Posts of Assistant Professor in Government-aided Colleges of West Bengal (Advt. No. 1/2018) History UR OBC-A OBC-B SC ST PWD 40 10 8 17 48 2 Sl. No. College University UR 1 Bankura Sammilani College. BANKURA UNIVERSITY 2 Saldiha College 3 Bijoy Narayan Mahavidyalaya 4 Kandra Radhakanta Kundu Mahavidyalaya 5 Krishna Chandra College BURDWAN UNIVERSITY 6 Syamsundar College 7 Syamsundar College 8 Bidhan Chandra College 9 Calcutta Girls' College 10 Calcutta Girls' College 11 Fakir Chand College 12 Harimohan Ghose Collge 13 Jogmaya Devi College CALCUTTA UNIVERSITY 14 Ramsaday College 15 Rani Birla Girls'Collaege 16 Swami Niswambalananda Girls' College 17 Victoria Instutution 18 Vidyasagar College for Women 19 Women's college 20 Thakur Panchanan Mahila Mahavidyalaya CPB University 21 Balurghat College GOUR BANGA UNIVERSITY 22 Malda College 23 Berhampur Girls' College 24 Chakdaha College 25 Domkal Girls' College KALYANI UNIVERSITY 26 Kalyani Mahavidyalaya 27 Kancharapara College 28 Karimpur Pannadevi College 29 Asansol Girls' College KAZI NAZRUL UNIVERSITY (ASANSOL) 30 Khandra College 31 Balarampur College 32 Kashipur Michael Madhusudan Memorial Mahavidyalay SIDHO KANHO BIRSHA UNIVERSITY 33 Ramananda Centenary College 34 Belda College 35 Deshapran Mahavidyalaya 36 Mahisadal Raj College VIDYASAGAR UNIVERSITY 37 Narajole Raj College 38 Panskura Banamali College 39 Pravat Kr. College 40 Rishi Bankim Chandra College WEST BENGAL STATE UNIVERSITY OBC-A 1 Ramananda College. -
NANDALAL BOSE the Doyen of Indian Art DINKAR KOWSHIK
NANDALAL BOSE The doyen of Indian art DINKAR KOWSHIK Contents Forebears and Parents School and College Education Nandalal enters the Magic Circle Early Laurels Discovery of Indian Art At Ajanta Okakura The Poet and the Painter Nandalal and Coomaraswamy Interim Ethical Moorings Far Eastern Voyage Wall Paintings Architecture & Museum Notes on His Paintings Art for the Community Depression Artist of the Indian National Congress A Humane and Kindly Being Nandalal and His Students Nandalal’s Views on Art Gandhiji’s Visit —1945 Admirers and Critics Evening Years I am indebted to the following scholars, authors, colleagues and relatives of Acharya Nandalal Bose for their assistance in assembling material for this book. Their writings and information given during personal interviews have been most helpful: Sri Banabehari Gosh, Sri Biswarup Bose, Sm. Gouri Bhanja, Sm. Jamuna Sen, Sri Kanai Samanta, Sri K.G. Subramanyan, Sri Panchanan Mandal, Sri Rabi Paul, Sri Sanat Bagchi, Sm. Uma Das Gupta, Sm. Arnita Sen. I am grateful to Sri Sumitendranath Tagore for his permission to reproduce Acharya Nandalal’s portrait by Abanindranath Tagore on the cover. I thank Dr. L.P. Sihare, Director, National Gallery of Modern Art, for allowing me to use photographs of Acharya Nandalal’s paintings from the collections in the National Gallery. I record my special gratitude to Sm. Jaya Appasamy, who went through the script, edited it and brought it to its present shape. Santiniketan 28 November 1983 DINKAR KOWSHIK Forebears and Parents Madho, Basavan, Govardhan, Bishandas, Mansur, Mukund and Manohar are some of the artists who worked in the imperial ateliers of Akbar and Jehangir. -
Global Art and Heritage Law Series India
GLOBAL ART AND HERITAGE LAW SERIES INDIA Prepared for Prepared by In Collaboration with FITZ GIBBON LAW, LLC COMMITTEE FOR AND AN ANONYMOUS CULTURAL POLICY INDIAN CONTRIBUTOR 2 GLOBAL ART AND HERITAGE LAW SERIES | INDIA REPORT ACKNOWLEDGEMENTS This report has been prepared in collaboration with TrustLaw, the Thomson Reuters Foundation’s global, legal pro bono service that connects law firms and legal teams to non-governmental organisations and social enterprises that are working to create social and environmental change. The Thomson Reuters Foundation acts to promote socio-economic progress and the rule of law worldwide. The Foundation offers services that inform, connect and ultimately empower people around the world: access to free legal assistance, media development and training, editorial coverage of the world’s under-reported stories and the Trust Conference. TrustLaw is the Thomson Reuters Foundation’s global pro bono legal service, connecting the best law firms and corporate legal teams around the world with high-impact NGOs and social enterprises working to create social and environmental change. We produce groundbreaking legal research and offer innovative training courses worldwide. Through TrustLaw, over 120,000 lawyers offer their time and knowledge to help organisations achieve their social mission for free. This means NGOs and social enterprises can focus on their impact instead of spending vital resources on legal support. TrustLaw’s success is built on the generosity and commitment of the legal teams who volunteer their skills to support the NGOs and social enterprises at the frontlines of social change. By facilitating free legal assistance and fostering connections between the legal and development communities we have made a huge impact globally. -
THE WEST BENGAL COLLEGE SERVICE COMMISSION Vacancy Status (Tentative) for the Posts of Assistant Professor in Government-Aided Colleges of West Bengal (Advt
THE WEST BENGAL COLLEGE SERVICE COMMISSION Vacancy Status (Tentative) for the Posts of Assistant Professor in Government-aided Colleges of West Bengal (Advt. No. 1/2018) English UR OBC-A OBC-B SC ST PWD 46 15 20 25 36 16 Sl No College University UR 1 Birsa Munda Memorial College 2 Gobinda Prasad Mahavidyalaya 3 Jamini Roy College BANKURA UNIVERSITY 4 Patrasayer Mahavidyalaya 5 Raipur Block Mahavidyalaya 6 Ramananda College. (Day+ Evening) 7 Kandra Radhakanta Kundu Mahavidyalaya 8 Memari College 9 Purbasthali College BURDWAN UNIVERSITY 10 Sailajananda Falguni Smriti Mahavidyalaya 11 Syamsundar College 12 Gokhale Memorial Girls' College 13 Naba Ballygunge Mahavidyalaya CALCUTTA UNIVERSITY 14 Rammohan College 15 Udaynarayanpur Madhabilata Mahavidyalaya 16 Baneswar Sarathibala Mahavidyalaya CPB UNIVERSITY 17 Tufangunj College 18 Balurghat College 19 Dewan Abdul Gani College 20 Dr. Meghnad Saha College GOUR BANGA UNIVERSITY 21 Harishchandrapur College 22 Malda College 23 Berhampur College 24 Domkal Girls' College KALYANI UNIVERSITY 25 Nagar College 26 Prof. Syed Nurul Hasan College 27 Deshbandhu Mahavidyalaya KAZI NAZRUL UNIVERSITY (ASANSOL) 28 Falakata College 29 Falakata College 30 Ghoshpukur College 31 Kalimpong College NORTH BENGAL UNIVERSITY 32 Nani Bhattacharya Smarak Mahavidyalaya 33 Rajganj College 34 Sukanta Mahavidyalaya 35 University B.T. and Evening College 36 Bikramjeet Goswami Memorial College 37 Chitta Mahato Memorial College SIDHO KANHO BIRSHA UNIVERSITY 38 Panchakot Mahavidyalaya 39 Belda College 40 Chaipat Saheed Pradyot -
Volume 2, Issue 2, August 2014 from the Desk of the Secretary and Curator
Volume 2, Issue 2, August 2014 From the desk of the Secretary and Curator Dear Friends, It gives me great pleasure to be able to share with all of you the latest issue of the Victoria Memorial Hall Newsletter, in which we bring you up to date on what exciting things have been happening in the VMH campus over the past few months and what exciting events lie in store in the days ahead. In the few months since the last newsletter reached you, we have done some very unusual exhibitions, including one where we displayed stunning works of art created by inmates of correctional homes, and another featuring wildlife paintings by an early-nineteenth-century British hunter-engineer- painter who found his way into the interior of Africa decades before David Livingstone and is regarded as the pioneer of the African safari. We also hosted many exciting lectures and film screenings, recounting – among other things – thrilling expeditions through turbulent rivers and steep mountains by differently-abled athletes, and a remarkable story that emerged in a series of photographs of Bengal taken in the 1940s by an unknown American soldier and discovered in a shoebox decades later. We worked with scores of schools and hundreds of children through our Activity Club, discovering unbridled joy on kids’ faces as they lighted up the many creative workshops the VMH does especially for children. And, of course, we were thrilled to host the Kolkata Literary Meet, which brought to our campus a galaxy of luminaries from the literary and the artistic world. The following pages, I hope, will bring home to you the sense of fun and excitement all of us in the VMH family felt while these events were happening.