Ever since its inception in 1933 The Academy of Fine Arts, over this last half a
century , has been serving , in a variety of ways, the cause of art and artists in India.
Starting from humble means, it is to-day housed in an attractive building of its own on
the Cathedral Road in the Maidan area . This building excellently provides for
painting and sculpture exhibitions, and works of art originating both inside the country
and abroad are often on exhibition here. The hall is as spacious as it is suitable for its
purpose. This building could be constructed mainly because the munificence of Sir
Biren Mukherjee, the Chairman of the Board of Trustees of The Academy of Fine Arts,
and other donors. In the past as big as Calcutta could boast of no other exhibition hall
than that of The Indian Society of Oriental Arts at 12 Samavaya Mansion. In the month
of December every year an exhibition under auspices of Indian Society of Oriental
Arts used to be held here, with the Governor-General or Governor of Bengal
inaugurating the exhibition and a distinguished gathering consisting of Rajas,
Maharajas eminent persons as well as artists like Abanindranath, Gaganendranath
being present at the inauguration. A large number of pictures were sold on the
opening day, fetching a price between rupees seventy five and two hundred and fifty.
Even the paintings of Abanindranath, Gaganendranath, Nandalal Bose were then not
worth more. They could not even dream of two thousands or three, the price quoted in
catalogues in exhibitions at present.
Indian society of Oriental Arts was founded in 1907. Exhibitions arranged by this
organisation presented only the pictures of Abanindranath and his followers, Oil
paintings in the western style had no place here. There were definite reasons for such
a situation. Initially Abanindranath and his followers chose for subjects of their
paintings those derived from the classical Indian tradition and endeavoured through
water colours to produce an impression of the true essence of Indianness.
Abanindranath never opposed Indian artists following western techniques. The
reason why oil paintings in western technique were excluded was that an exhibition
showing pictures in contrary styles would lack the sense of harmony. Non-realistic
imaginativeness and fine work and a fine tone in the harmony of colours to achieve
expression characterized the pictures of the school of Abanindranath. They attracted
by virtue of an overall poetical impression in the creation of beauty. A number of
distinguished foreigners with their love and respect for the Indian tradition in the arts,
associayed themselves with Abanindranath. Among them were E.B. Havell, Ananda
Coomaraswamy, Sister Nivedita, Okakura, Kakoja, Taikwans, etc. men who were
either artists themselves or interested in art, critics as well as enthusiasts. They tried
to assist Abanindranath because out of their deep respect and sympathy for Indian
fine arts they had a genuine appreciation for the artistic style initiated by
Abanindranath. They wished that, isolated from the influence of western artistic
traditions, this style should develop its own principles of excellence.
There were a number of artists then painting in oil according to western techniques,
and they had achieved eminence in this. The fact that they had no opportunities of
displaying their work to the public impelled a number of artists and persons
artistically inclined to direct their efforts to remove difficulties. The difference,
however, on account of the varying styles of the school of Abanindranath and those
following western techniques was narrowing down. Hence in 1933 breadth of outlook
promoted another exhibition on the line of Indian Society of Oriental Arts, on an empty
space in the corridor of the first floor of Indian Museum, partitioned off with jute sheets
in wooden frames. Paintings, sculptures and various handicrafts of both the schools
found a placr in the exhibition which was inaugurated with marked enthusiasm. Its
success owed much to the patronage of Maharaja Prodyut Kumar Tagore and other
eminent people. It created quite a sensation amongst artists in Calcutta. Poorly
financed, this exhibition generated a good deal of ardour and made people look
forward in hope. A group of artists like Atul Bose, Satish Singha, Ardhendu
Bandyopadhyay spent a whole day at it. The exhibition opened in great style and a
number of pictures were sold on the opening day itself. This was followed by annual
winter exhibitions for a few consecutive years, and they featured the paintings of
Jamini Roy, Jaminiprasad Ganguly, Atul Bose, Satish Singha, Hirachand Dugar,
Dhiren Krishna Deb Barman, Ramendranath Chakravarty, Bireswar Sen, Lalit Sen.
And thus started in 1933 what to-day has culminated in the fine efforts of the academy
of Fine arts.
Those Indian artists who, towards the beginning of the twentieth century, painted oils
according to western techniques thought that they could claim a superiority in that
they followed the styles of artists like Raphael, Constable, Whistler, William Orpen.
They regarded Abanindranath's techniques to quite immature. The other circle
contrarily believed that they were the true Indian artists because they carried forward
the Indian tradition in art and they had a true link with people of the land. As time rolled
by, changes overtook Indian artists in a big way. Time blurred the distinction that
seemed to sharply differentiate two sets of artists pursuing two different styles, and
points of view. One section of the Indian artists was deeply influenced by the
doctrines and techniques prevalent in the world of western art, known as modern art.
a section of viewers and professional critics have been impressed by the display of
colours in place of ideas and sophistication-the ways moving close to western rather
than Indian art. Artists to-day search their own individual vision in an original way and
are indifferent to belonging to any particular school. They have grown individualists.
The choice of subject in painting has undergone important changes, when compared
with past practice. Artists in the tradition of Abanindranath also do not any longer
choose legendary or divine subjects; the technique of 'wash painting' introduced by
him survives among only a handful. Little differentiate artists in water colour from those
in oil. The techniue followed is immaterial as long as the result achieved satisfies the
criteria of art. The annual exhibition organised by 'The Academy of Fine Arts'
becomes an occasion for enjoying the paintings and sculptures of artists of all over
India with an impressive range and diversity including abstract art, ultramodern,
modern art, tempera wash paintaing, etc. The criterion for selection is aesthetic and
not the technique adopted. The field of activities of the Academy of Fine Arts is
gradually extending itself, and the chief reason for it is that this institution is in tune with
contemporary trends in artistic thinking. Indian Society of Oriental Arts was once
acknowledged to have contributed most in awakening art in India but the context has
now changed. The history of Indian art shows that no eastern artistic tradition has
been as strongly influential as the artistic doctrines and techniques of Europe which
from the decade of the nineteenth century to the present has powerfully captivated the
mind of Indian artists and affected their styles. One of its possible reasons is that
Indian artists have been more exposed than ever in the past to the propagation of
western values in art through reproductions available plentifully at a low cost. The
history of art teaches that art is dynamic, always striking new paths, and rejecting
imitations. Hence an artistic genius expresses himself through new forms and styles,
showing the glory of his own joy in art.
The Academy of Fine Arts has been progressively prospering by virtue of its living
link with the contemporary situation in art. Art is to have appeared in numbers in all
states of India, promising not merely an increase in the quantity of practisioners but
also quality and excellence in performance. The Academy's role in this forward
march has been of no little significance. The Annual exhibition of the Academy
together paintings and sculptures from all over India. There are moreover continual
solo or group presentaions throughout the year. artists are happy to exhibit their
works here, because they know that an exhibition at the Academy means
discriminating viewers in greater number than elsewhere. Apart from this aspect of
propagation of art, The Academy has undertaken training programmes too. Artists
get an oppurtunity of live model study because of the availability of
studio-cum-sketching Club. There are painting and sculpture classes too, and
classes meant especially for children. There is permanent art gallery for both
paintings and sculptures and an art library. There is an air-conditioned auditorium for
the performing arts. In conclusion it has to be placed on record that it is the unremitting
energy, enthusiasm and skilful management, which has enabled The Academy of
Fine Arts to play the part it has in carrying the pursuit of excellence in the field of art. |
