What did democracy mean to Ramkinkar Baij?

His modernism grew from the celebration of the lives around him and the cultural heritage of the region. Mukherjee had attended lectures by Austrian art critic Stella Kramrisch before Baij joined the institution, and passed the knowledge about Western practices to his friend. Baij seldom paid heed to such detractions, choosing to showcase the prana or life force of his subject rather than a mere representation. In 1984, a minister from West Bengal threatened to have a bust of Rabindranath Tagore removed from the town of Balatonfured in Hungary. Instead of merely transcribing the physiognomy of facial features, each bust tries to emulate the essence of his sitters. In addition to these large works, abstraction is also imbued in the busts he made.

My Yaksha is completely modern – with a machine and a money bag. It’s a modern-day machine and is symbolic of industry. ‘You might have noticed that I’ve placed a discus in my sculpture’s hand. I received a letter to send a model for a sculpture to be placed at the Reserve Bank.

A scholarly book on the artist, Ramkinkar Baij (book), by the eminent Art Historian professor R. The secret behind this fearless observation of this «Padma Bhushan» winning artist is disclosed by himself in the documentary by Ghatak. Out of the nine artists invited, five submitted their proposals and amongst them only one submitted models and sketches. On his advice, the invitation to tender for the adornment of the frontage of the New Delhi Office was extended to the nine artists. He made a committee to perform the selection of artists.

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The short, unfinished documentary, shot by Ghatak in 1975 and completed by his son in 2008 for the exhibition, presents a series of strangely staged conversations between the director and his subject. This is, of course, a somewhat specious point on my part, in that it could be applied to almost anything – ‘Why do it like this? For many of the complex cultural questions of ‘unbelonging’ (as discussed by Geeta Kapur and Irit Rogoff in an event at MuHKA that took place during the exhibition) can’t be tethered by location, or rather more specifically ‘site’, and consistently shake off attempts at fixing meaning.

He built each sculpture around metal armatures, applying the paste in clumps and then chiselling away the excess. Among his peers, Baij easily emerged as a pioneer, modern sculptor and began teaching after his graduation in 1929. The rural setting of the Kala Bhavana—located on the outskirts of Bolpur—suited Baij’s meagre earnings more than the high expenses of city life. Interested in Visual arts?

Participates in the Salon des Réalités Nouvelles, Paris, and with the Salon deMai the following year. Makes a small sculpture of Mahatma Gandhi, now in the collection of the National Gallery of Modern Art, New Delhi. Makes a sculpture portrait of Abanindranath Tagore based on threesittings of fifteen minutes each.

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• In 1984, a minister from West Bengal threatened to have a bust of Rabindranath Tagore removed from the town of Balatonfured in Hungary.
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• A student organises a joint exhibition of his works along with those ofBenode Behari Mukherjee at New Delhi.
• Born on 25 May at Bankura to an economically weak family.
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While influenced by Western modernist artists such as Rodin, Brancusi, and Picasso, his art remained profoundly grounded in Indian themes, particularly the rural landscape, tribal figures, and working-class people.He believed that art should be accessible and reflective of everyday life rather than confined to elite circles. Drawn from life, Baij’s figures breathed a bold realism, an earthy strength and spontaneity seen in his sculptures, drawings, and paintings. The artist’s exhibition at Chisenhale Gallery shows how entangled and dependent our lives are upon one another

The second observation, perhaps more key, is that ‘Santhal Family…’ ought not to have been an exhibition at all. As a concept Baij’s Santhal Family sits firmly at the centre of this exhibition, with concentric circles of interest overlapping and connecting across different cultures and generations. It’s a peculiarly familiar work, depicting a mother, father, child and dog from the Santhal tribe, carrying their few possessions with them to a new life.

Ramkinkar Baij (1906 —

Sign up with your email to receive news and updates on our upcoming exhibitions and programs. Later, he headed the Department of Sculpture at the Kala Bhavan. Does it matter whether the rich and elite class demands my art or not? Which means apart from food, clothes and reproduction, there is another purpose, whose name is creativity. The two monumental works, Yaksha and Yakshi, are completed and installed on site at the entrance to the RBI headquarters in New Delhi only a decade later. Makes Mill Call, his last monumental outdoor sculpture.

Santhal Family, widely considered to be the first public Modernist sculpture in India, was made by Ramkinkar Baij in 1938. Ramkinkar Baij remained a humble, introspective, and unconventional figure throughout his life. Despite these honours, Ramkinkar lived a simple life, deeply devoted to his work and students.

Formules naturelles

The poignancy of the likeness is particularly worth noting considering the context of the portrait. The bust portrays the poet, not as a heroic figure, but as a stooping old man with a sad brooding face. It was cast in cement from life in 1940 when Rabindranath Tagore was still alive. Even so the ‘Portrait of Rabindranath Tagore’ may be considered a superb portrait sculpture. He came from a rural background to study art under Nandalal Bose at Visva Bharati, Santiniketan.

A differing view holds that many prominent persons including Maitreyi Devi (poet and novelist) supported Chakraborty, and that later the effort to replace the bust was cancelled by then cultural minister Buddhadeb Bhattacharjee. When West Bengal Culture Minister Jatin Chakraborty unveiled Ramkinkar’s bust of Tagore in Hungary, he had remarked that it did not «look» like Tagore, and should probably be replaced. Apparently Tagore did not die «right after» the bust was completed. The National Gallery of Modern Art (NGMA) in New Delhi has the original concrete casting of the bust, from which the bronze bust was prepared, and dates the original to 1940, one year before Tagore’s death. A bronze bust of Rabindranath Tagore made by Baij was placed in 1984 at an outdoor monument in Balatonfüred, Hungary, on a promenade named for Tagore alongside Lake Balaton.

With this seminal work Ramkinkar established himself as undoubted modern Indian sculptor. The use of cement and laterite mortar to model the figures, and the use of a personal style in which modern western and Indian pre-classical sculptural values were brought together was equally radical. In a country where all public art-work was undertaken only at the behest of Government commissioning and executed in consonance with the taste of conservative ruling elites, this was a radical departure. Ramkinkar used this opportunity to make monumental public sculpture, undertaken entirely at his own initiative. Four years later Ramkinkar joined the Visva-Bharati University at Santiniketan as a student of fine arts.

He makes the tall sculpture Sujata, modelled on Jaya Appasamy, a student at the time in Kala Bhavana, who went on to be a noted critic and art historian. Joins the faculty of the sculpture department at Kala Bhavana alongside Nandalal Bose and Benode Behari Mukherjee, where heremains for most of his career. He teaches art briefly at Modern School, New Delhi.Makes a relief sculpture of Saraswati for the hostel at Modern School. ‘It repeatedly occurred to me when I did paintings or sculptures, that I have to be independent. The colossal Yaksha and Yakshi sculptures at the Reserve Bank of India, New Delhi, brought Baij recognition, even though they differed in style from his other work. 24 January 2013 the first Ramkinkar Baij Memorial Lecture was delivered by one of Ramkinkar favorite students, the eminent artist K.