By Tapati Guhathakurata
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Extra info for Abanindranath Known and Unknown The Artist versus the Art of His Times
Asok Mitra, "The Forces behind the Modern Art Movement", Lalit Kola Contemporary, Vol. 1,No. 1,June 1962, p. 19. R Siva Kumar, PaintingsofAbonindmnath Tagare (Calcutta: Pratikshan, in association with Reliance Industries,2007). The artist's 70°'%irthdaywas the occasion for the publication of a special commemorative Abanindra Numberofthe VisvaBharatiQuarterly (May-October, 1942). in which appeared Benode Behari Mukherjee's "A Chronology o f Abanindranath's Paintings", pp. 119-135. Subramanyan, "The Phenomenonof Abanindranath Tagore: in Moving Focus: Essays an Indian Art (New Delhi: Lalit Kala Akademi, 1978), pp.
It inadvertently chamber, where the artist was completely became his way of writing h~mseMout of the immersed in his work, nurturing his art like a professional mainstream history of the modern mother rearing her child. While he admitted that Indianartofthese years. the "genius" could be produced at all three levels, The 1940s, the last decade of his llfe, was a he unequivocally separates himself from the time of inconsolable loss and even greater artisan and the critic to shut himself into the top personal withdrawal.
36. A wonderful account of these trends is provided by Shankho Ghosh in his book, Kalpanar Hysteria (Calcutta: Proma, 1984). 37. There were some professional positions he did take on during these last years - he was a joint editor with Dr. Stella Kramrisch of the Journal of the lndian Society of Oriental Art during the late 1930s and 40s and after Rabindranath's death in 1941, he was inducted for a while as Upacharya (Vice-Chancellor) of Visva-Bharati at Santiniketan But none of these positions could propel him into an active professional life.
Abanindranath Known and Unknown The Artist versus the Art of His Times by Tapati Guhathakurata