The Calcutta Group was established in 1943 and played a significant role in the history of Indian Modern Art. In contrast to the traditional Indian aesthetics advocated by the Bengal School of Art, this avant-garde collective embraced modernism under the influence of European movements. The group aimed to reflect the social and political changes of pre- and post-independence India.
Based in Kolkata, a cultural and political center, the Calcutta Group was founded by young progressive artists including Paritosh Sen, Pradosh Das Gupta, Subho Tagore, Nirode Mazumdar, and Gopal Ghose. Their objective was to create art that addressed contemporary realities while moving beyond the romanticism and revivalism of the Bengal School.
The group’s manifesto explicitly addressed historical events such as the Bengal famine of 1943, the struggle for independence, and the partition of India through their art, focusing on social realism. Their artworks vividly portrayed themes of poverty, suffering, and the human condition, reflecting a profound commitment to social consciousness by shedding light on the struggles of marginalized individuals.
Utilizing a blend of modernist techniques and indigenous themes, the Calcutta Group experimented with Cubism, Surrealism, and Expressionism, resulting in a unique visual language. For instance, Paritosh Sen incorporated satire and expressionism to humorously portray the everyday struggles faced by ordinary individuals. Pradosh Das Gupta focused on form and abstraction in Indian sculpture, while Gopal Ghose skillfully merged impressionistic and expressionistic elements in his landscapes to portray the beauty of rural and urban India from a unique perspective. Nirode Mazumdar reinterpreted symbolic content and mythological themes through a modernist lens.
Zainul Abedin’s documentation of the Bengal famine of 1943 is considered one of the most remarkable responses to the event. After the Partition in 1947, Abedin played a key role in the Bangladesh Liberation War movement and came to be known as the founding father of Bangladeshi art. Notably, the Calcutta Group also included a woman sculptor, Kamala Dasgupta, who challenged gender norms and made significant contributions to the collective’s endeavours alongside her husband.
The Calcutta Group’s break from the traditional Bengal School and its focus on contemporary social issues sparked controversy, challenging the art community’s status quo and dividing opinions. On one hand, their commitment to social realism and the depiction of societal ills was admired for its commentary, while on the other hand, it was criticized for its bleakness. Both internal conflicts and the changing political landscape of independence and partition further complicated their journey.
Despite gaining international recognition, some in India viewed the group as elitist and overly political. Ultimately, a combination of internal conflicts, external criticisms, and diverging artistic visions led to their dissolution in 1956, leaving behind a legacy of innovative contributions overshadowed by controversy. However, the group’s enduring legacy is evident as a pioneering force that inspired the establishment of various art societies and groups dedicated to modern art in the years that followed. important roles in the movement of modern Indian art.” Paritosh Sen
The legacy of The Calcutta Group is a fascinating paradox. Their departure from the traditional Bengal School and their focus on contemporary social issues sparked controversy, challenging the status quo and dividing the art community. Their commitment to social realism, which depicts societal ills, was both praised for its commentary and criticized for its bleakness. Internal conflicts and the changing political landscapes of independence and partition further complicated their journey. While they gained international recognition, some in India saw them as elitist and overly political. Ultimately, a combination of internal conflicts, external criticisms, and diverging artistic visions led to their dissolution in 1956, leaving behind a complex legacy of innovative contributions overshadowed by controversy.
After the dissolution, the members went their separate ways; some pursued further training, some experimented with different styles of art, and some developed their own unique artistic visions. For instance, Prodosh Dasgupta served as the Director of the National Gallery of Modern Art, New Delhi, from 1957 to 1970, and Nirode Mazumdar delved into experimenting with Tantrik symbols. Subho Tagore found his passion in design, while Prankrishna Pal worked with the Ashutosh Museum of Calcutta University. Nevertheless, the enduring legacy of The Calcutta Group is evident as a pioneering force that inspired the establishment of various art societies and groups dedicated to modern art in the years that followed.
