Sunday, 22 July 2018

A looking back, an early start up..(18)



To the readers,
 

An inspiration from new era of Indian film

I did this acrylic painting on canvas in 1991 when I was involved with my friends to review films, theatre, music, literature, poetry and of course the political discussion/debates on national or international context to observe the relationship between form and content or the language pattern that provided a logical expression by the cultural practices of late 50s to 80s. So many strong personalities in theatre, film, literature had a great affinity to the social realism, they were keen interested to focus the most critical condition of pre and post independence era of the society, the crisis of the time, where a socio-economic and political turmoiling situation also influenced the emergence of cultural hegemony to cling the arena of different kinds of practices.

Ritwik Kumar Ghatak
Ritwik Kumar Ghatak
Ritwik Ghatak was one of them who directed so many remarkable films that are accepted, appreciated and pointed by his followers; and the experts’ comments which have placed his works within the discourse in context to past or recent trends of film movement till today. By that time the film club movement had been reached to the highest range of pick-point. Ritwik Ghatak’s first film is “Nagorik” (The Citizen) and the last is “Jukti Takko Gappo” (The Reason, Argument, Story). In later period he made “Titas Ekti Nadeer Naam” (A River Called Titas) after the independence of Bangladesh in 1971. This was his wonderful making that was financed by a producer of Bangladesh in co-operation with Ritwik’s fans in 1973. He wrote his script based on the content of an anonymous Bengali writer Adwoita Mallobarmon’s novel “Titas Ekti Nadeer Naam” (A River Called Titas) which was written on the life and works of marginal people of “Maalo” community (fishermen), the writer himself was the member of Maalo community also so that he narrated beautifully the lives of Maalo. Once upon a time my school teacher, Suvendu Biswas of Bengali language told me much about Adwoita Mallobarmon and his novel in my school life. Ritwik died in 1976 and in 1978 this film was

Ritwik in his last film Jukti Takko Gappo ( The reason, argument and story)
Ritwik in his last film Jukti Takko Gappo ( The reason, argument and story)

A scene from Titas ekti nadeer naam ( A river called Titas)
A scene from Titas ekti nadeer naam ( A river called Titas)
screening in his retrospective show at Kolkata organized by the Govt. of West Bengal. I viewed Titas in this retrospective and I was begone enormously by his film, the sequence after sequence, frames and shots of the production moved me to look through the lens of my mind and becoming a fanatic I started to explore the cinematic language that inspired me to pick up a single frame from huge multiple frames (the mad man’s reaction after getting back his lost wife) which was focussed to be painted on canvas by me as pre-conditioned aesthetical relationship to the visual language; I used the figurative composition set in “ a vortex of images that settle down upon close scrutiny into recognizable shapes ”, patches of colors or minimal deformity that could identify the figurations. No matter what was being tried to be drawn but an emotional effort was the vital driving force to manipulate entire composition and I got much more appreciation from my friend circle, some of them were interested to collect this painting.

Nilotpal Sinha No - 020 Title : The mad man with his wife Medium : Acrylic on canvas Size : 60 " x 72 " Year : 1991
Nilotpal Sinha  The mad man with his wife  Acrylic on canvas  60 ” x 72 ”  1991
This exhibit was shown
in the first solo exhibition
in 1991 at AFA, Kolkata.
In review art critic
Kishore Chatterjee wrote:

” His basic technique is to apply short dabs of colours, broken lines that move side by side to create a vortex of images that settle down upon close scrutiny into recognizable shapes. At times Sinha comes into the realm of abstraction without really snapping links with formalism.”  –The Statesman, Saturday, 29 June 1991
________________________________
Ritwik Kumar Ghatak – Marxist thinker and film maker Ritwik Kumar Ghatak (b.1925) was the most important film director and he played a significant role in the movement of new Indian cinema of late 50s. His first production Nagorik (The Citizen) was directed by him in the year 1952 and the last two productions he directed Jukti Takko Gappo (The Reason, Argument, Story) in 1974 and Titas Ekti Nadeer Naam (A River Called Titas) in 1973 after the new born country Bangladesh in 1971. The Mother-Cult and the Collective Consciousness based script and direction signify the role of content and film-treatment. His most successful films are Meghe Dhaka Tara (The Cloud-Capped Star) (1960), Komol Gandhar (E-Flat) (1961), Subarnorekha (Golden Lining), Jukti Takko Gappo (The Reason, Argument, Story),  Ajantrik (1958), Titas Ekti Nadeer Naam (A River Called Titas) (1973) etc. He died in 1976 at the age of 50.

For more info please go to http://en.wikipedia.org/wiki/Ritwik_Ghatak
Photo credit: Facebook, Wikipedia

Monday, 16 July 2018

A looking back, an early start up(16)

An old artwork
 

Digitally processed pastel work

This old pastel work on paper was drawn in 1991 that I have processed this year (2013) in digital method, truly which is a single click operation. I exhibited that old version in one of my solo show at Academy of fine arts, Kolkata, in 1991.

At that time an artist cum tourist from UK was visiting Kolkata and by chance he was in AFA to view the running shows in different galleries. He visited my gallery remaining long time to discuss on the current topics of art. He questioned me more but I could give answers little. When he was ready for getting out of my show he told me that he liked this form of artwork and he already started oil painting following a long trend and treatment of traditional cartooning to meet a goal in art language practice. Naturally I was become surprised very much and I got an encouragement for future practice.

Nilotpal Sinha  Peoples in the park  Dry pastel  30" x 20" (app.)  1991
Nilotpal Sinha   Peoples in the park   Dry pastel  30″ x 20″ (app.)  1991


Friday, 13 July 2018

A looking back, an early start up(15)

An old artwork

Brush strokes in a simple vortex

I did this acrylic painting in 1990-1991 with a simple vortex using enough brush strokes to follow the particular shapes and forms. This smaller and untitled canvas work never took part in any exhibition on or after 1991 but it was favorite to few of my friends.

Nilotpal Sinha   Untitled-1   Acrylic on canvas   18" x 24" (app.)   1990-1991
Nilotpal Sinha   Untitled-1   Acrylic on canvas  18″ x 24″ (app.)  1990-1991


Tuesday, 10 July 2018

A looking back, an early start up(14)



An old artwork
 

The vortex of image

This is another work that I painted on paper in tempera
after 1991 and this painting did not display in any exhibition.

The man and the woman(2)
Nilotpal Sinha  The man and the woman(2) 
Tempera on paper  18″ x 24″ (app.)   1991-1993


Saturday, 7 July 2018

A looking back, an early start up(13)

An old artwork
 

The vortex of image

I did this tempera work on paper after 1991 that was “to create a vortex of images that settle down upon close scrutiny into recognizable shapes..” and critics or viewers hardly believed to take it as an effort in search of a new style where the content I tried to feed forcefully not playfully, although that was neither true nor an effort for searching a new style. That time it was so much crucial for me to preview a recognizable relation between form and content rather than an adopted style and I confirmed that the style that always made itself to become an integrated part of the form if any playful workmanship existed behind that effort.

 The girl under a tree
Nilotpal Sinha   The girl under a tree  Tempera on paper  18″ x 24″ (app.)  1991-1993



Friday, 6 July 2018

A looking back, an early start up(12)

An old artwork
 

(Hu)man & machine relationship…

This is another acrylic work that I did on paper in 1991-92 and this painting did not take part in any exhibition even not shown to anyone of my friends’ circle, art lovers or gallery owners after or before 1991. I don’t know whether it is right or wrong but a feeling of the mechanical sounds in the workshop that I enjoy here. For that reason also with few added imaginative elements this is one of my favorite painting among others. I like it!

 Workshop series(5)
Nilotpal Sinha   Workshop series(5)   Acrylic on paper   30″ x 23″ (app.)   1991-92


Thursday, 5 July 2018

A looking back, an early start up(11)

An old artwork
 

(Hu)man & machine relationship…

Workshop series(4)
Nilotpal Sinha   Workshop series(4)   Tempera on paper   30″ x 23″ (app.)   1991

This tempera painting that participated in one of my solo exhibition at Academy of fine arts, Kolkata in 1991 and I did this in the same year. This artwork of the earlier workshop series has features that The Telegraph mentioned in art review in 1991; please follow the previous post.