Appreciation of art is inherent in a person

The ramifications of the partition of 1947 left grave feelings into the juvenile heart of internationally-acclaimed artist Jogen Chowdhury. The water, nature and culture of his birthplace (Faridpur, Bangladesh) had great impressions in his life. Later, the experiences, impressions and his childhood memories, and their intuitive connections on his childhood were reflected in his paintings and constituted his ideology, that were expressed though his “Reminiscence of a Dream” series in 30 paintings.

The master artist, currently a resident of India, recently received Zainul Sammanona 2016, conferred by Faculty of Fine Art, University of Dhaka. In a candid conversation with The Daily Star, the artist shared many facets of his life and art. Here's the first part of the interview. 

 “My paintings entail social, political and individual satire, exceptions, incongruence and decay. My artistic journey too follows thoughtful evolution in line with my attitudes, tendencies, likings and experiences. Satire is not the main thing of my paintings; rather my social consciousness and its subsequent rendition into diverse artistic expressions have characterised my works. I have an idiosyncratic attitude to create something new that is unknown and untouched by others. I am also conscious about technical elements like form, texture, structure, colour, gesture, dramatisation, lyrical rhythms and poetic quality.” 

“We had no educational curriculum on art history while we were students at Govt. Art College, Calcutta. I chose life with its varied aspects and nature as my subjects to portray. I have great fondness towards Tagore's paintings. The great bard's paintings contain supernaturalism. He incorporated the essence of supernaturalism in reality. Later, I was determined to depict realistic forms infused with elements like abstract and supernatural. The portrayal of bare reality was never my forte. Tagore excerpt “Roop-er Majhey Aroop” inspires me a lot. It captures the essence of infinity and transcendentalism in realism. I was a bit restless during my time in Paris and I depicted drawings, voluptuous figures while I portrayed figurative works like “Man on Sofa” or “Representative from the Hell”, as representative of social exploiter.” 

“I cannot work without getting involved or interested. The divergence between European and Indian arts made me think creatively. Being creative is being modern. Like Abanindranath Tagore and Rabindranath Tagore, I followed the same spirit of embracing the Indian art rather than European ones. I do the modern works that does not represent the heritage only. Rather I take the essence from unique Indian heritage and do creative works being conscious of the contemporary aspects. Being creative is more important than just becoming an Indian. Social consciousness with openness is prerequisite to art. Transcendental quality will be incorporated automatically. Rigidity can never bear fruit.”

“A surge of abstract paintings grew in 1950s and 1960s. People thought abstraction is the ultimate of art. I consciously avoided that idea. Rather, I depicted my drawings, ink on paper. In 1972, I exhibited my works in France. Later I exhibited my works in Delhi.” 

Back in India after his time in France, Jogen Chowdhury worked as a textile designer in Chennai and was later curator at Rashtrapati Bhavan for 15 years (1972-87). 

Chowdhury made a strong statement against the Indian government's infamous state of Emergency (1975-'77). His famous painting “Tiger in the Moonlight” is allegorical and mocking. Still, he admired Indira Gandhi. “She had a keen sense of aesthetics and took special interest in the art displayed at Rashtrapati Bhavan. When important guests like the Queen of England or the Shah of Iran visited, she personally chose the art to be displayed.”

Chowdhury points to a satirical painting of a couple -- a potbellied politician and a voluptuous woman with bare breasts -- and says a scandal involving a politician from Odisha triggered it. “There is no fun in direct statements; the fun is in suggestion.” Apparently, the politician's face is that of his attendant in Rashtrapati Bhavan.

Chowdhury has written extensively on art, on art understanding and aesthetics. In one of his essays on art appreciation, he drew a diamond and divided it into three parts. The uppermost portion depicted sensitive people -- such as Aurobindo, Tagore, and Einstein -- who understood art. The middle portion was for the average man with a bit of understanding of art.

“The majority of people like popular things, which is not wrong,” he says. The third portion was meant for those who do not get art at all. “Appreciation of art is inherent in a person,” he explains. “For those who don't get it, (art) education will just act as a cover-up.”