Born : 1975 lives & works in Kolkata, West Bengal.
Art Education : Graduate - Indian College & Art & Craft, Kolkata.
Solo Shows : Gaganendra Art Gallery, Kolkata ('98), Taj Bengal ('08, '09, '11), Academy of Fine Arts ('09), Emami Art Walk-Emami sponsored ('10), 8th Solo at Taj Bengal, Promenade,2012.
Participations & Group Shows : Participated In various group shows & annual art shows in India notably Renaissance Art Gallery - Bangalore, Pegasus Art Gallery - Hyderabad, Taj Mount Road - Chennai, Taj Lands End - Mumbai, Zazen Art Gallery - Chandigarh, Ganges Art Gallery Kolkata, National Camp of Arts & Sculpture - Visakhapattanam, Karnataka Chitrakala Parlshath '11, '12 Bangalore, group show of Pentagon at Academy of Fine Arts '11, Kolkata, Art camp organized by Taj Westend for 125 years In 2012, Bangalore, Magma House '12, Kolkata, Techno India in Kolkata, invitee show by Colours at AFA '12, Kolkata, group show at AFA '12, Kolkata, 6th Annual show by REEJAN at Birla Academy of Art 8. Culture '12, Kolkata, invitee show by Artists Circle & Gallery Gold in 2012, Kolkata, Art Camp organised by World Tourism Dept., Shilparamam '12, HYDERABAD, Gallery gold Organized a group show, Kolkata, 2012, Rotary club organized a group show in Kolkata 2012. Got feliciated on 3rd Jan.,Lallt Kala Academi, ORISSA, BHUBNEWAR. Sponsored Show In Chandigarh at Art Follio Gallery. Group show at Lalit Kala Academy in Delhi 2013.
Awards : Gold token by Sunil Das at Birla Academy of Art & Culture, Kolkata ('09), Bharatiya Charukala Mandir ('10).
Collections: India 8i abroad. Notably painting 'Krishna' in the collection of Syt. B. K. Birla.
Medium : Acrylic on canvas
The Works : Inspired by the enlightened heritage of Indian Classical Art. The subject of the paintings being the tranquility and devination of the Ajanta figuration and Gupta sculptures. The floral elements, rhythmic plants 8i creepers, flying birds decorate the faces and figures with the message of divine contemplation. The paintings are done in multiple layers of paint to bring out the ultimate effect. Predominant subjects are 'Nirvana', Radhakrlshna, Ganesh Janani as well as non-mythdogical subjects such as a boy with kites.
337, Mahisbathan, Majher para, P.S. Electronic Complex, P.O. Krishna pur. Salt Lake, Sector • V, Kolkata - 700102 Mobile: 09903760450, E-mail: ghshsubrata7S#gmail.comJ Web: wwrwsubrataghosh.com
- 12th Solo Art Show at Trident Art walk,in 2013,Mumbai
- Sponsored show by Colour Entice at karnataka Chitrakala Parisath,in 2013,Bangalore.
- Sponsored show About DEVI DURGA theme at Academy of Fine arts,in 2013,kolkata.
- Sponsored show by TARA ART in GOA,India,2014.
- sponsored show By AAKAR at ICCR ,Kolkata,2014.
- Sponsored show at Commerswami art gallery, in 2014,Mumbai.
- Sponsored show by Colour Entice at Hyderabad,2014.
- Sponsored show at J.S. art gallery .2013,Mumbai.
- Sponsored show by J.S. Art gallery ,Bagalore,2013.
- Sponsored show by Gallery M ,kolklata in 2014
- Sponsored show by AAKAR in 2014
- Sponsored Show by Pegasus Art Gallery in Hyderbad, 2015
- SREEJAN 8th annual show at BIRLA ACADEMY of ART & CULTURE,2014
- Received PRATIVA Samman 2013,
- Received Certificate of Excellent by 101 Miniature at Academy of fine arts,2014
- Resceived SREEJAN SAMMAN as a seretary of SREEJAN group,2014,
- Received Fecitation by Boy's Recreation Club,Dinhata,North Bengal. in 2014
About Indian Painting
Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka, some of them from before 5500 BC. India's Buddhist literature is replete with examples of texts which describe palaces of the army and the aristocratic class embellished with paintings, but the paintings of the Ajanta Caves are the most significant of the few survivals. Smaller scale painting in manuscripts was probably also practised in this period, though the earliest survivals are from the medieval period. Mughal painting represented a fusion of the Persian miniature with older Indian traditions, and from the 17th century its style was diffused across Indian princely courts of all religions, each developing a local style. Company paintings were made for British clients under the British raj, which from the 19th century also introduced art schools along Western lines, leading to modern Indian painting, which is increasingly returning to its Indian routes.
Indian paintings provide an aesthetic continuum that extends from the early civilisation to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions.
Idyllic Tranquility Recent Paintings of Subrata Ghosh
Timelessness and temporality arc two of the components that constitute a work of art. Tradition in art is also a reflection of the assimilation of these two. ‘It cannot be inherited'. TS Eliot wrote about ‘tradition’ in his book 'The Sacred Wood', ‘if you want il you must obtain it by great labour.' This was the dictum during the age of modernity. The process of assimilation has been more complex during the age of post-modernity in our region particularly, due to onslaught of globalization. We know in our contemporary culture both post-modernity and globalization are working simultaneously in a contradictory way, one influencing, at the same time opposing the other. Globalisation tends to erase ihe plurality of culture, where as post-modern concepts tries to look deeper into diversity, into the uniqueness of every subtle reflection of traditional nuances. These mutually opposite trends have made the expressions of contemporary art very complex. They are artists who completely ignore tradition. To express temporality they resort to global post-modern (read Western) idioms. There are others who despite their commitment to temporality do not ignore the subtle shades of‘nmelessuess’ or tradition.
Subrata Ghosh, the young artist, who has appeared tn the field of contemporary art during the first decade of this new century, belongs u> this second group. I le tries to touch temporality from the perspective of timelessness. The enlightened heritage of Indian classical art inspires him and helps him to build up his own tradition. He looks back towards the grand tradition of our painting and sculpture of classical era. The tranquility with the divinity of the Ajanta figuration and Gupta sculpture makes some imprint in his delineation of form, lie imbibes robustness, illusion of three dimensionality from these classical traditional sources and induces a kind of sobriety through duality of light and shade in his figuration. The echo of idyllic elements also reverberates m Ins works. He also induces decorativeness from traditional sources.
The floral elements, rhythmic plants and creepers, flying birds decorate the tranquil faces or figures in his paintings with the message of ideal or divine contemplation. His paintings, especially of this present series, are therefore tare examples of the assimilation of the two opposing trends or attitude to life, that is classicism and romanticism. In tranquility and meditativeness, in depicting the divine values of an enlightened and celebrated culture, m connecting his visual elements with the ‘limelessness’ he imbibes classical sensibility, where as in decorativeness, in transcending dry rationality towards an ethereal emotiveness lus works posit a tendency of romanticism With these elements of ‘timelessness' lie tries to touch or project, albeit very subtly and indirectly, the values of ‘temporality’. To him the time present is a time of strife and discordance, of anarchy and violence, violence towards life also towards nature and environment. His paintings grow out of a rebellion against these decaying values. He tries to posit an ideal to negate this decay, this human frailty that the civilization Is engulfed with.
There are two types of temporality in human expressions: direct and indirect. Direct temporality reflects rebelliousness against decaying human values. The cubism of Picasso, the expressionism of Edward Munch or Kathe Kolwitz or some of the German expressionist or the surrealism of Salv ador Dali or the works of DadaisLs. in our country the works of the artists of 1940-s like Jainul Abedin, Chittaprosad and Somnath I lore are the examples of such direct temporality; where as the cubism of Braque, post- impressionistic expressions of Van Gogh or Cezanne or the Fauvist expressions Matisse or in our country the works of Abanirulranalli. Nandalal Basu. Jamini Roy or Rabindranath may be cited as examples of expressions in indirect temporality. They are also rebellious in the sense that they posit a transcendence negating all sorts of decays of humanity. Subrata Ghosh tries to fix Ins sight and creative impulse towards this transcendence.
Subrata was born hi Kolkata in 1975 and graduated in Fine Arts from Indian College of art and Draftsmanship under Rabindra Bharati University in 2000. He made his first solo show in Kolkata during 1998, before completing his course in Art College. Since then he is regularly exhibiting his works in different parts of the country and taking jxirt in various art activities. Since the beginning he has worked in various mediums and experimented in various forms. He is very prolific in linear modes and worked extensively hi various commercial ventures, which has given him confidence to woik with any kind of imagined structures. At a certain stage lie lias tried with mythical subjects in traditional forms with some reflections of neo-Indian style. Gradually this trend has been transformed towards a tranquil, idyllic, meditative and sonorous form, where, as luis been stated earlier, classical sobriety and romantic imaginativeness have merged to build up his form. The works exhibited in the present show mostly reflect this trend.
He has worked in acrylic on canvas. He applies colour layer after layer to arrive at his own chromatic structure, where white with little shade of yellow, cream and light grey gets prominence. This colour scheme helps him to create an environment of idyllic tranquility. Hus subjects are various, mythical, religious and secular expressing various shades of life. In 'Nirvana' he depicts the face of Buddha in classical style. In 'Mahamaya' he paints in semi-profile the face of the di me lady. 'Tejaswini' also reflects the image of Goddess Durga. 'Eternal Love' is an image of eternal mother and child where the mother holds on her lap a child with a pachydermic head like Ganeslia of Hindu mythology. 'Silent Love' ls the image of a beautiful lady depicted in idealized naturalistic form seated with a bunch of lotus buds in her hand. Rhythm' depicts the mythical theme of Radlia Krishna. Apart from these myth oriented subjects there are also works of noil-mythic category like Boy ami Kite' where the artist depicts the pleasure of a boy while flying the kite as a memory of his own childhood, or the The Owl', image of the nocturnal bird that flies within the realm of myth and reality.
Through all these images Subrata Ghosh paints an environment of idyllic tranquility, where the resonance of the divine merges with earthly reality, thus assimilating timelessness and temporality.