Guernica
Palash Biswas
(Contact: Palash Biswas, Gostokanan, Sodepur, Kolkata-
700110, India. Phone: 033-25659551-r)
He was excellent.He was outstanding in style and
aesthetics.He did not believe in abstract.He lived in
a real world and sustained his survival with full
commitment to his roots, the real india suffering from
famine, poverty and imperialism. He began drawing the
misery he saw around him, and eventually he was
encouraged to make sketches and posters for the
Communist Party of India. He returned to Calcutta,
where he joined the Government School of Art. He
provides an interesting outlook on the definition of
artistic originality: "In art nothing is completely
original. Heritage, both national and international,
is bound to influence an artist either consciously or
subconsciously. Art activity mirrors the visible
world. Intuitively the artist introduces technical
perceptions and innovations which create new forms.
These are in turn enriched with fresh concepts. He
experimented in a variety of media, including
woodcuts, modern gravure, lithography, and extensively
in bronze sculpture. He hated famine and poverty. He
was not religious .Nor he used religious myths, moods
and images in his art. He was dead agaist war and
atomic race. He voiced Vietnam. He bore the wounds and
at the same time he successfully transformed those
wounds in his tools.
The communist, the artist somnath Hore is no more. Let
us mourn.
Noted sculptor and winner of Kalidas Samman Somnath
Hore died in the night of Navami in Durgotasav after
prolonged illness.This timing of his demise is in
itself a symbol of his deeprooted existence in Indian
soil and its culture. Durgotasav is the greatest
cultural and public festival in Bengal across the
border. He had been suffering from respiratory
problems.
Governor Gopal Krishna Gandhi, also the Visva-Bharati
rector, met ailing sculptor Somnath Hore at his Aban
Pally house in shantinikatan much before the destined
day.Somanth worked for the communist party. He got
admission in the art college complying with the
suggestion of then Comminst party General secretary PC
Joshi. He was a reporter in the communist newspapers.
He made posters for the Party. He roamed village after
village during Tebhaga movement, the strength of
communist movement in Bengal. He was active while the
party was banned. He had been in jail. One time,
comrade Jyoti Basu was with him in the jail.But it is
unfortunate while the rightist Governor had all the
time in this world to see the committed ailing artist,
the poet Chief Minister of West bengal Bddhadev
Bhattacharya, his government and his party never
showed any interest unless the time to express
condolence hightened.
He is survived by his wife and painter-daughter.
The artist was suffering from lung infection for quite
sometime. He was admitted to a local hospital on
Friday. He was released from Bolpur hospital on Navami
afternoon. But his condition deteriorated at home and
he breathed last at 2110 hrs, family sources said.
Somnath Hore is one of the pioneers of the 20th
century modern art movement in India. He is respected
not only as an important artist but also as a
political activist, who has, over the years, boldly
used his talents as a graphic artist and sculptor, to
express his own personal angst against a
socio-political system which breeds acts of violence.
The most poignant and powerful statement made by
Somnath Hore as an artist, is his pulp print series
called "Wounds". It was the cataclysmic decade of the
1940's, especially the Bengal Famine of 1943 which
shaped and moulded his consciousness as an artist.
Somnath has often expressed concern over man's
inhumanity against man and blatant violation of human
values—whether it be casteism, communalism, the
frightful fallout from nuclear blasts and society's
inability to preserve human dignity.
Born at Srihatta in Chattagram (now in Bangladesh) in
undivided Bengal, the sculptor took part in land
reform movement. His art basically carried messages of
hungry people of the country.
Communist Party of India-Marxist patriarch Jyoti Basu,
Lok Sabha speaker Somnath Chatterjee and West Bengal
Chief Minister Buddhadeb Bhattacharya mourned the
death of the noted sculptor, who started making
posters for the Communist party from an early age.
They offered condolences to the wife, daughter and
other members of Hore's family.
Hore's figures have always reflected the anguished
human body, but the imprint of the hand of the creator
is more startlingly manifest in his sculptures. The
torn and rugged surfaces, rough planes with slits and
holes, subtle modelling and axial shifts, exposed
channels, all make for exciting visual and tactile
sculptures.
Between the years 1954 to 1967, Hore handled a number
of jobs in various capacities. From 1954 to 1958 he
was a lecturer at the Indian College of Art and
Draughtsmanship in Calcutta. Thereafter, till 1967, he
held posts like the "in-charge of the Graphic section"
at the Delhi College of Art, visiting faculty at the
MS University in Baroda and the head of the Graphic
Art department of Kala Bhavan, Visva Bharati. In 1960,
he became a member of the Society of Contemporary
Artists.
Exceptional talent is able to create great art with
these tools; and great art is unequivocally original."
The Artist: "Wounds", Somnath Hore. 1991.The anguished
human form has widely been reflected in Hore's
figuration. The visual appeal of his work is increased
by the rough surfaces, slits, holes and exposed
channels.From 1974, Hore began doing bronze
sculptures. "Mother with Child", a large sculpture
that paid homage to the people's struggle in Vietnam,
was stolen from the Kala Bhavan soon after it was done
and has never been traced since. The stealing of
Rabidra`s Nobel prize medal and recitation is not the
first incident in Shantiniketan. Not at all.
Ramkinkar, though had the bless of no less a person
than the Gurudev, Ravindra Nath Tagore, had to face
all the troubled water as he belonged to lower caste
barber. Somnath Hore also did not belong to the elite
ruling class of Bengal. Along with Chitto Prasasd and
his teacher in the Art College Jainal Abedeen he
differed from the much talked Bengal School of Art.
His experiments with truth and his commitment
alienated him in shantiniketan itself. He enhanced the
graphic department of Kalabhavan but it was agnaist
the tradition of Shantiniketan. The dominating
presence of an artist, a commited one like Somnath
Hore was not liked by many. He never bothered with
myths and images of gods and godesses. All these
things went against him. His works, his colourful
simple dresses and his personality , every thing
seemed to be agnaist the tradition and environment of
Shantiniketan.
He bore the wounds lifelong losing the stolen image
of Mother Vietnam , he created. He did not see
Vietnam. But no one knew vietnam better than him, not
all those who chanted in the procession- AAMAR NAAM
TOMAAR NAAM VIETNAM. Somnath faced Japanese Bombing in
Patia, Chittagang , his native place. He witnessed and
suffered Fmaine of 1943. His visual reportig had been
assets of commist party organs Janyudha and People`s
Warin those pre independence turmoildays of history.
Heis heart bled while Noakhali and Chittagang with and
along all the riot torn parts of divided Bengal became
killing fields. The refugee influx was his experience.
He himself was a refugee in the field of Indian Art,
never granted his bonafied citizenship.
Somanth did have no way to be aquainted with Pablo
Pccasso and his classic mural Guernica, its style and
form. But he sketched all his famine creations in
white background with dark black ink creating the same
impact of Guernica. His sculpture Holocaust agnaist
atomic explosion in Hirosam a and Nagasaki makes us
remember nothing but Guernica which is modern art's
most powerful antiwar statement... created by the
twentieth century's most well-known and least
understood artist. But the mural called Guernica is
not at all what Pablo Picasso has in mind when he
agrees to paint the centerpiece for the Spanish
Pavilion of the 1937 World's Fair. Remember those days
friends, on April 27th, 1937, unprecedented atrocities
are perpetrated on behalf of Franco against the
civilian population of a little Basque village in
northern Spain. Chosen for bombing practice by
Hitler's burgeoning war machine, the hamlet is pounded
with high-explosive and incendiary bombs for over
three hours. Townspeople are cut down as they run from
the crumbling buildings. Guernica burns for three
days. Sixteen hundred civilians are killed or
wounded.By May 1st, news of the massacre at Guernica
reaches Paris, where more than a million protesters
flood the streets to voice their outrage in the
largest May Day demonstration the city has ever seen.
Eyewitness reports fill the front pages of Paris
papers. Picasso is stunned by the stark black and
white photographs. Appalled and enraged, Picasso
rushes through the crowded streets to his studio,
where he quickly sketches the first images for the
mural he will call Guernica. His search for
inspiration is over.
>From the beginning, Picasso chooses not to represent
the horror of Guernica in realist or romantic terms.
Key figures - a woman with outstretched arms, a bull,
an agonized horse - are refined in sketch after
sketch, then transferred to the capacious canvas,
which he also reworks several times. "A painting is
not thought out and settled in advance," said Picasso.
"While it is being done, it changes as one's thoughts
change. And when it's finished, it goes on changing,
according to the state of mind of whoever is looking
at Three months later, Guernica is delivered to the
Spanish Pavilion, where the Paris Exposition is
already in progress. Located out of the way, and
grouped with the pavilions of smaller countries some
distance from the Eiffel Tower, the Spanish Pavilion
stood in the shadow of Albert Speer's monolith to Nazi
Germany. The Spanish Pavilion's main attraction,
Picasso's Guernica, is a sober reminder of the tragic
events in Spain.
Somnath Hore, the doyen of Indian printmaking, had a
long and illustrious career as an activist, artist,
and academic. He deliberately chose to adopt
printmaking as his medium. Works like Wounds amply
illustrate how he wielded the burin or used the acid
on his plates—his was a passionate protest against the
wanton violence and devastation that marked his times.
Unlike many early printmakers from Santiniketan, it
was not merely the novelty of the medium that
attracted Hore: he explored it to realise very
specific artistic goals. This sense of purpose and
passion had not been seen in Indian printmaking,
perhaps with the exception of Chittaprosad, who was
attracted to the medium because of its
reproducibility-quotient, which made it a convenient,
wide-reaching vehicle of communication. Hore wanted to
bring about a revolution in artistic thought, and not
merely explore a new medium. In the 1970s, Hore truly
stretched the medium to its limits with his
white-on-white pulp prints. He explored new approaches
to the medium, liberating it from its traditional
technological limits. No longer would printmaking be
seen merely as a narrative/illustrative medium/form
meant to create works meant for popular circulation.
While Hore's versatility is indeed unparalleled, there
were others in the early post-Independence years who
contributed significantly to the shaping of the
graphic art movement in India. In the 1950s, Delhi
seems to have been the fountainhead of pioneering
printmaking efforts and initiatives. Not only Hore,
but veteran printmakers like Kanwal Krishna and
Jagmohan Chopra lived and worked there at that time.
Chopra, who was a dedicated teacher, was always open
to experimentation—he fostered a generation of
printmakers who have been greatly indebted to him.
Some of his contemporaries include Gunen Ganguli,
Jeevan Adalja, and Zarina Hashmi.
Somnath Hore was born in 1921 in the village of Barama
in Chittagong, now in Bangladesh. As a youth, his
singular passion was drawing. With a box of
watercolors given as a gift, he would try to reproduce
images from books and magazines. One day out on the
fringes of the village, he saw a pair of painters
painting pictures on the inner wall of a room inside a
small mud hut. He was fascinated, both by the realism
of the images as well as the idea of being able to
draw from one's imagination as opposed to copying, as
he had been doing. Their ability, he says, "was
supernatural to me." Personal and societal
circumstances would play a significant role in
Somnath's work. His father died when Somnath was but
13; his widowed mother was left to raise 5 children.
The great famine of 1943 gave rise to mass starvation
and disease.
In the 1950's Somnath Hore was involved, successively,
with the Calcutta Corporation as an assistant teacher;
with the Indian School of Art; and as a lecturer at
the Government College of Art in Delhi. In the decades
that followed,
Although contemporary art has used bronze in
unconventional ways relevant to the time, the
technique is still primarily associated with academic
skills and public monuments on a large scale. Its
capacity for evoking bodily sensuousness and grandeur
was subverted in an intimate manner towards an
expression of helpless vulnerability by Somnath Hore
in his small images of poverty and suffering. Under
the hands of less socially committed artists the
classical medium is often used for exercises in
Modernistic formalism and token empathy.
A lifetime of inventive experiments with etching,
intaglio and lithographs culminated in the abstract
while on while Wounds series in 1971. Dramatized with
a spot of red, the white on white prints reflected the
political turbulence of the times. Prints were taken
with paper pulp pressed on molded cement matiices. The
moulds were made from originals done in clay.Hore
began doing bronze sculptures from 1974 onwards. One
of his largest sculptures Mother with Child that paid
homage to the spirit of the people's struggle in
Vietnam was stolen from the Kala Bhavan soon after it
was fmished and disappeared without a trace.
Hore's figuration has always reflected the anguished
human body. His sculpture is no different but the
imprint of the hand of the creator is more startlingly
manifest in his sculptures. The torn and rugged
surfaces, rough planes with slits and holes, subtle
modeling and axial shifts, exposed channels, all make
for exciting visual and tactile sculptures.
The beginning of the 20th century witnessed the rise
of the nationalist art 'movement'—there was a marked
shift in the aesthetic preferences of the Indian
public at large, leading to the gradual emergence of a
group of painters engaged in evolving a fresh, 'new'
Indian aesthetic. Slowly, distinctions began to arise
between 'committed' artists and 'professional',
commercial artists. Soon, artists like Raja Ravi Varma
and Bamapada Banerjee began to give way to artists
like Abanindranath Tagore and Nandalal Bose.
Gaganendranath Tagore. Metamorphoses. Lithograph from
Adbhut Lok. Printed at the Bichitra Studio, Calcutta,
by Haricharan Mondal. 1917.
While this transition occurred most evidently in
approaches to painting, and later, in approaches to
sculpture, printmaking was by no means unaffected. The
implications of the distinction between 'printing' and
'printmaking' slowly began to become clearer, and
printmaking as a mode of artistic expression finally
began to come into its own. It was only after half a
century, that 'printmakers' were spoken of as being
distinct from painters and sculptors. The beginning of
the 20th century saw the emergence of printmaking as
an independent art form with a multitude of aesthetic
possibilities and an identity of its own.
Moreover, at the beginning of the 20th century,
'art' and 'applied art' came to be considered, not as
two separate spheres, but as two aspects of the same
profession. A successful artist was one who had
acquired formal training and had inculcated 'high'
Western aesthetic sensibilities (which would bring him
important commissions and employment opportunities).
As more and more Indians began entering art schools,
printmaking began to make gradual inroads into the
aesthetic consciousness of the educated and
intellectual elite at the forefront of the artistic
revolution. The greatest thrust, however, came from
the Tagore family in Calcutta. The three brothers,
Abanindranath, Gaganendranath, and Samarendranath
(nephews of Rabindranath Tagore) transformed the south
veranda of their Jorasanko residence into an art
mecca. They began to host regular art salons and their
home became the meeting venue for members of the
informal Bichitra Club: this was where new styles of
painting and printmaking were explored. Works from the
Bichitra Studio (despite the Club's informal and
liberal profile) were highly respected by the educated
Bengali middle classes who were increasingly attracted
to art as a possible vocation. For the first time,
artists such as Gaganendranath Tagore and Nandalal
Bose began to practise printmaking as an
interventionist activity. Around this time, the art
centre set up at Rabindranath Tagore's new university
at Santiniketan began to attract the attention of a
new breed of nationalist artists. Abanindranath's
students chose to teach art at the ashram school at
Santiniketan, at the Bichitra Studio, and at the
Society of Oriental Art, over and above similar jobs
at government art schools. In 1920-21, Nandalal Bose
became the Principal of the newly founded Kala
Bhavana, Santiniketan. It was from here that the
graphic art movement in India truly began. By the
first quarter of the 20th century, Nandalal Bose had
introduced graphic art into the Kala Bhavana
curriculum. From 1920-30, he experimented ceaselessly
with printmaking practices, seeking a new spontaneous
language that was concise, simple, and uncluttered. He
understood well the futility of trying to translate
Occidentally styled imagery into a traditional
Oriental format—the resultant vocabulary would
undoubtedly be hybrid and confused. Bose rejected the
Western mode of representing three-dimensional space
on a flat surface using linear perspective: he
developed a personal style that employed a relatively
flat perspective (i.e. a two-dimensional view) by
evenly distributing positive and negative areas. His
prints were crisp, the lines were swift and taut, and
the blacks and whites balanced each other perfectly.
One could say that Bose's graphic work bordered on
abstraction. Though he had absorbed many influences
while developing his unique vocabulary (Far Eastern
imagery, classical Indian art, for instance), he broke
free of their static conventions. Instead, he
developed a highly original syntax – his prints were
always lively.
SOMNATH HORE: AN APPRECIATION , Gopal Krishna Gandhi
wrote in the Kolkata Daily from
The Nehru Centre, London on June 1995 much before the
demise of the artist. The appreciation portrays very
weel Somnath Hore. The Governor wrote:
`Chief minister Jyoti Basu is coming to unveil a bust
of Tagore sculpted by Somnath Hore and being gifted to
the Nehru Centre by the Government of West Bengal. I
open the crate that has brought the consignment from
Calcutta, with excited anticipation. But when I see
the piece, I gasp. We have received a tangle of metal
scrap. My colleagues move away from the scene of the
de-crating so as not to add their disappointment to
their director's despair.
"There is nothing we can do about it," I sigh.
We will have to put up the piece and go ahead with the
function and ask a colleague to finish the unpacking.
An hour or so later, as I happen to walk across the
lobby where the opened bronze is now placed on a
pedestal, I gasp again — in utter amazement. Tagore
stands there, in the perfection of his compassionate
intensity.
Tongues of bronze have been inter-folded to form the
handsome head. The gently patinated bronze head exudes
an inner calm, the hollowed eyes a pain and an
understanding of pain. This is a true Tagore head and
yet very different. How different? There is such a
thing as being true to a subject. There is such a
thing as being the subject.
At the function on 7 July, 1995, Jyotibabu unveils the
masterpiece (not 'the piece' any more) by directing a
ray of light on it through the darkened hall. The
entire audience draws a collective breath of
astonished admiration. All those present have known
the Tagore 'presence' and yet have not. Not in this
aspect.
I was to meet Somnath Hore — for the first time — on 7
November, 1998, in his spartan home tucked behind the
foliage that covers the laterite grounds between
Santiniketan and Sriniketan. I had accompanied
President Narayanan as his secretary on a visit to
Visva-Bharati for the birth centenary of Professor Tan
Yun-Shan. The function over, I sought and got the
President's permission to deviate from his itinerary
to call on the sculptor.
Somnathbabu was at the door to meet me, standing tall
like a Painted Stork on stilt-like legs, stooped and
lost to thought. Rebadi stood just behind him. He was
wearing a sweater though it was not cold, and had his
head covered in a hand-knitted woollen affair. There
were half-finished clay and wax forms placed on the
floor and tables, besides books and plants. As he
asked me to take a seat, I was struck by his fingers —
unusually long and, strangely, as thoughtful as their
owner. They moulded the air while he spoke. I reduced
our conversation to writing later that very evening on
the back of a sheaf of white paper which I now see was
the text of the speech of the then vice-chancellor on
Professor Tan.
"When Buddhadeb asked me to do the Tagore bust for
your Centre in London, I was hesitant," he said. "You
see, my style is different… I was not sure how people
would respond to it…." I told him how right he was
about the difference factor and also of how people in
London had responded.
In the few minutes available to me in my borrowed
time, I asked him about his life, his work. "I started
as a printmaker in Kala Bhavan," he said, reminiscing
from a past that seemed not some years old, but a
century or more so. I could see that detail mattered
to him when to "Kala Bhavan" he added "in the graphics
department".
There was nostalgia but no self-validation,
recollecting but no romanticizing. "It is only later
that I took to this art form. You see, I first do a
wax maquette and then there is a person here who casts
it for me in bronze."
Showing me a specimen, he said: "I do these wax sheets
and use these 'channels' for the hands and legs…." I
understood then how 'sheets' and 'channels' had gone
into the making of the London Tagore.
I asked Somnathbabu whether he had ever met Gandhi or
sculpted him. "In 1946, when Gandhiji had come at the
time of the riots, I made it a point to follow him
wherever he went. Even though I was — and am — not a
believer, I attended his prayer meetings because I was
fascinated by his personality. I did an engraving but
did not sculpt him."
He then told me of the engraving he had done of Gandhi
addressing a Hindu-Muslim congregation in August 1947
at the Mohammedan Sporting Club galleries in Calcutta.
This is a remarkable work, showing MKG in the
distance, standing like a little matchstick on a far
platform, with a multitude of Hindus and Muslims in
telltale attire, listening rapt. One listener has a
child — his future world — perched on his shoulder, as
another in a fez sits with a combination of awe and
hope. Difference, again. Somnath Hore was showing MKG
not as an iconic superman but as the masses saw him
through the hectic jostle of their fears, hopes and
emotions.
Somnathbabu seemed at that meeting not just frail but
afflicted with a controlled anxiety. He spoke with
difficulty, straining at every breath. "I am 77 and a
half," he said. "Some years ago I was afflicted by a
bronchial ailment. I have had the only allopathic
treatment that is possible: antibiotics. But they have
been of little avail. I am now taking some
homoeopathic medicines. There is some relief. But an
attack can come without notice and can be fatal. After
dusk, I do not — cannot — step outdoors," And yet he
did precisely that, to bid me goodbye.
Time rolled on and I lost direct contact with
Somnathbabu but the Calcutta-based social economist
and my friend of many years V.K. Ramachandran kept my
interest in Hore strengthened by sending me from time
to time news of him and — electronic impressions of
the Master's woodcuts as reproduced in Tebhaga: An
Artist's Diary and Sketchbook. Each was greater than
the other — two labourers talking animatedly over a
chillum, farmhands at a threshing floor with a pair of
sickles, perhaps making, and perhaps not, a political
point, a bearded chasi bent over at work, his biceps
and calves in comfortable tension, two huts in the
smoky hush of dusk, a phenomenally attractive Jamshed
Ali at 35, a woman — not Mother Teresa but an
archetypal woman anticipating the gift of Albania to
India and of India to human conscience — simply called
Night, a mufflered Monida listening to something or
someone intently, a woman standing with her child on
her waist who could be Bengali, Indian, African, a
bemused 'volunteer' leaning on a staff… each a living
document.
Several years were to elapse before I was to see
Somnathbabu and Rebadi again. My wife Tara and I were
visiting Santiniketan for the first time after I had
taken over my present assignment. My diary entry for
22 January 2005 reads: 'Call on Somnath Hore. At 84,
he is frail but clear of mind and speech. He shows us
a piece of sculpture in black bronze inspired by
Pokhran II. It depicts a human, a dog, a tree and a
bird — all dead — killed in a nuclear winter. It is
powerful beyond words, a masterpiece. Who am I to
compare the Greats but I feel the composition is ahead
of Picasso's Guernica. I feel that piece must be
acquired by the United Nations. Talking of nuclear
plans, he says "we are mad". And then he gives us a
rare gift — another sculpture by him — a Hindu and a
Muslim united in death. I cannot check my tears at his
generosity. I say to him "I do not deserve this", to
which his daughter says "How do you know?" I cannot
respond to that.'
Calling on Somnathbabu on subsequent visits to
Santiniketan became a habit. On one such, when I went
to his home with members of a team that the Visitor of
Visva-Bharati had appointed to suggest plans for the
university's future health, he said with infinite
sadness: "Everything is changing, everything,
everywhere…." He was on a plane that seemed new,
philosophical. There was no recrimination, no sense of
the new generation being unkind to the earlier one and
the mood suggested a Buddhist understanding of decay.
Somnath Hore was more than an artist. He was a witness
of the human drama but a witness with a skill that
translated his witnessing into art. In an age when
secularism, socialism and peace can be seen — or
rubbished — as shibboleths, he knew them to be vital
needs. In times when art can become a plaything of
drawing rooms and auction halls, he kept it close to
its springs — his very human sensibility.'
palashcbiswas,
gostokanan, sodepur, kolkata-700110 phone:033-25659551
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