Modern Indian Painting: Intersecting Art and Political Narratives

In modern India, political art serves as a dynamic reflection of evolving ideologies. From the independence movement’s visual rhetoric to contemporary expressions, artists encapsulate political narratives through diverse mediums. This intersection of art and politics illuminates the nation’s journey, echoing societal shifts, dissent, and the quest for identity in a complex geopolitical landscape.

Modern Indian Painting: Post-Independence Art Movements and Political Expressions

• Calcutta Group Formation: Following Amrita Sher-Gil’s death and the Bengal famine during World War II, artists in Calcutta formed the Calcutta Group under the leadership of Prodosh Das Gupta. 
  • These artists include Nirode Mazumdar, Paritosh Sen, Gopal Ghose and Rathin Moitra.
• Contemporary Art Pursuit: They sought universal and contemporary art, distancing themselves from the sentimentalism of the Bengal School of Art. 

• Simplified Expression: The group simplified their visual expressions, emphasizing elements like material, surface, forms, colors, shades, and textures. 
• Socialist and Marxist Influences: Many of these artists were drawn to socialism and Marxism due to the poverty and social issues they witnessed. 
• Political Artists: Chittoprasad and Somnath Hore, political artists, used printmaking to depict the plight of the poor, with Chittoprasad’s works on the Bengal Famine published as “Hungry Bengal,” causing annoyance to the British authorities.
• Depicting Social Issues: Chittoprasad’s etchings, linocuts and lithographs showed the deplorable condition of the poor. 
  • It is not surprising that he was asked by the Communist Party of India to travel to villages worst affected by the Bengal Famine and make sketches.

Modern Indian Painting: Progressive Artists’ Group and Artistic Liberation

• Artistic Liberation: After witnessing Independence from British rule, young artists sought political and artistic freedom.
• Progressives Art: In Bombay, The Progressives, led by Francis Newton Souza and including artists like M. F. Husain, K. H. Ara, S. A. Bakre, H. A. Gade, and S. H. Raza emerged in 1946. 

• Experimental Work: Souza challenged conventional art school norms, focusing on experimental works, particularly exaggerated nude portrayals of women. 
• Synthesis of Styles: M. F. Husain aimed to make Modern Indian Painting relatable to an Indian context, using Western expressionist techniques with vibrant Indian colors and drawing inspiration from Indian mythology, religious themes, miniature paintings, village crafts, and folk toys. 
• Blending Styles: His ability to blend modern style with Indian themes established him as a representative figure of Modern Indian Painting on the global stage, exemplified by his depiction of Mother Teresa in a modern artistic context.

Evolution of Abstraction in Modern Indian Painting

• Diversion of Expression: In the realm of Modern Indian Painting, while M. F. Husain remained primarily a figurative artist, S. H. Raza transitioned towards abstraction, particularly focusing on landscapes and utilizing a wide range of colors. 
  • Raza’s abstract works drew from mandala and yantra designs and incorporated the bindu as a symbol of oneness from Indian philosophy. 
• Transition: Later, artists like Gaitonde, K. K. Hebbar, S. Chavda, Akbar Padamsee, Tyeb Mehta, and Krishen Khanna would move between abstraction and figurative styles. 
  • Abstraction also found prominence among sculptors like Piloo Pochkhanawala and printmakers like Krishna Reddy, who emphasized the significance of materials in their creations. 
• Materials in Sculpture: The appeal of abstraction extended across various art forms, including painting, printmaking, and sculpture, during the 1960s and 1970s. 
• South Indian Abstraction: In South India, K. C. S. Paniker pioneered abstraction and showcased its historical roots by incorporating motifs from Tamil and Sanskrit scripts, floor decorations, and rural crafts, demonstrating the longstanding presence of abstraction in Indian art.

Transition and Diversity: Modern Indian Painting in the Late 20th Century

• Conflicting Phase: By the late 1970s, a tension between internationalism (embracing Western modern trends) and indigenous art emerged in Modern Indian Painting. 
• Balancing Influences: Artists like Amarnath Sehgal and Mrinalini Mukherjee found a balance between abstraction and figurative elements in their works.
• Distinct Indian Identity: Concerns about imitating Western art led to a quest for establishing a distinct Indian artistic identity.
•  Neo-Tantric Art: Biren De, G. R. Santosh, and K. C. S. Paniker turned to local artistic traditions, creating what became known as Neo-Tantric art, characterized by geometrical designs inspired by meditation diagrams.
  • This style found success in the West and India, combining Indian influences with abstraction.
• Indian Modernists’ Works: Eclecticism, borrowing from various sources, became a notable feature of Indian modernists, including Ram Kumar, Satish Gujral, A. Ramachandran, and Meera Mukherjee. 
• Manifestos and Artistic Aims: Artists began writing manifestos to articulate their artistic aims, with Group 1890, led by J. Swaminathan, emphasizing the importance of texture and surface in their works. 
• Influential Movement: This movement influenced the Cholamandalam School near Madras and left a lasting impact on subsequent generations of artists.