An Indian Modernist Pioneer
Manashimaya
Prominent member of the Bengal School of Art, Benode Behari Mukherjee broke beyond traditional limits to carve out his place in Indian Modernism, especially in Contextual Modernism. He distinguished himself as a visionary in the Indian art scene with his artistic journey, which fused a variety of inspirations, including Indian folk traditions, East Asian techniques, Medieval European norms, and Bauhaus ideas.
Early life, Influences and Evolution:.
Benode Behari Mukherjee, a luminary in the realm of Indian art, was a visionary whose brushstrokes reshaped the landscape of contemporary Indian art. Born on February 7, 1904, in Behala, West Bengal, Mukherjee’s journey from a visually impaired childhood to becoming one of India’s most celebrated artists is a testament to his indomitable spirit and artistic prowess.
Early Life and Education:
Mukherjee’s early years were marked by adversity. At the age of seven, he lost his vision due to smallpox. Despite this setback, his determination to pursue art remained unwavering. He enrolled at Kala Bhavana, the art school at Visva-Bharati University in Santiniketan, where he studied under the tutelage of Rabindranath Tagore and Nandalal Bose. Here, he imbibed the ethos of the Bengal School of Art and was deeply influenced by the teachings of his mentors.
Mukherjee’s artistic repertory departed from nationalist and religious themes, unlike his Bengal School predecessors. His predominant subject matter until the 1940s was landscapes, demonstrating his command of the genre. Mukherjee incorporated elements of Chinese and Japanese aesthetics into his paintings by drawing influence from calligraphy and East Asian drawings. His 1936–1937 trip to Japan proved crucial since it introduced him to new mediums and methods, including silk, gold and silver boards, and Nepali paper which he seamlessly incorporated into his oeuvre
Career and Style:
Mukherjee’s artistic oeuvre is characterized by a harmonious blend of traditional Indian art forms with modernist techniques. His works often exude a sense of lyrical abstraction, depicting themes inspired by nature, mythology, and spirituality. Mukherjee’s mastery over various mediums, including painting, printmaking, and mural art, reflects his versatility and innovative spirit.
One of Mukherjee’s notable contributions to Indian art was his experimentation with the medium of the ‘wash’ technique, where he used diluted ink to create ethereal, atmospheric effects in his paintings. This technique became synonymous with his artistic style and garnered widespread acclaim.
Pioneering Muralist:
Mukherjee was the first person in India to experiment with mural painting, demonstrating his pioneering zeal in this field. His 1940 painting “Village Life in Birbhum” at the Kala Bhavan hostel, is based on his combination of scroll and calligraphic techniques. The mural, which depicts scenes of rural life in Birbhum, invites spectators to interact with its story sequentially because of its landscape scroll-like shape. His gigantic “Life of Medieval Saints” (1946–1947), housed at Shantiniketan’s Hindi Bhavana library, is a tribute to his cross-disciplinary approach. It incorporates aspects of Cubism and Pallava reliefs, among other artistic traditions.
Educator and Innovator:
Mukherjee’s legacy as an educator is equally profound. Following his stint as a curator in Nepal, he established the Benodebehari Mukherjee Training Centre for Art and Craft in Mussoorie, advocating for an interdisciplinary approach to art education. Despite losing his eyesight in 1957, Mukherjee’s commitment to artistic exploration remained undeterred. He continued to teach art history and experiment with various mediums, from drawings to lithographs and sculptures, leaving an indelible mark on his students and the art community at large.
Recognition and Legacy:
Throughout his illustrious career, Mukherjee received numerous accolades, including the Padma Vibhushan in 1974 and the Rabindra Puraskar in 1980. His works, predominantly murals, adorn various institutions in West Bengal and Shantiniketan, serving as enduring testaments to his artistic prowess. In 2006, a retrospective of his work at the National Gallery of Modern Art, New Delhi, reaffirmed his status as a luminary in Indian art. His influence continues to reverberate through exhibitions and collections, ensuring that his legacy endures for generations to come.
