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Volume 21 Number 1, December 1967

Volume 21 Number 1

The Modern Movement in Sculpture

The Breakthrough: Notes on the Modern Movement in Sculpture (Editorial)

Indian Art in the 1940s
Prodosh Das Gupta

Indian Art in the 1950s
Jaya Appasamy

Indian Art in the 1960s
Geeta Kapur

Contemporary Indian Art - 1940s
Das Gupta, Prodosh
Vol. 21 No. 1, December 1967, pp. 1-5 [Supplement to Vol. 21 No. 1]

In the 1940s, socio-political and economic changes influenced the Indian artistic scene and artists tried to inspire a new ideology, creating a synthesis between East and West. The Bengal school declined, and the Calcutta Group attempted to move art away from tradition. In the late 1940s, progressive groups were formed in Bombay, Delhi, and Madras. The four masters who contributed towards modern art were Rabindranath Tagore, Gaganendranath Tagore, Jamini Roy, and Amrita Sher-Gil.

The Breakthrough: Notes on the Modern Movement in Sculpture [Editorial]
Anand, Mulk Raj
Vol. 21 No. 1, December 1967, pp. 2-16
The necessity of a new breakthrough, with a different way of handling materials, has been witnessed from age to age. The editorial discusses the transformation in the art of sculpture -- particularly in methodology, materials, and design -- in the 20th century, and notes some works of the avante-garde of modern sculpture.
Contemporary Indian Art - 1950s
Appasamy, Jaya
Vol. 21 No. 1, December 1967, pp. 6-12 [Supplement to Vol. 21 No. 1]

In the 1950s, there was an all increasing demand for art and its application to production and industry, and the emergence of a class who appreciated the fine arts. In this decade, art moved away from nationalistic idioms and figurative and romantic styles to more intellectual and abstract tendencies. Some important artists of the period were Prodosh Das Gupta, N.S. Bendre, Sailoz Mookherjea, Souza, Satish Gujral, Akbar Padamsee, M.F. Husain, K.C.S. Paniker, and Badri Narayan.

Contemporary Indian Art - 1960s
Kapur, Geeta
Vol. 21 No. 1, December 1967, pp. 13-16 [Supplement to Vol. 21 No. 1]

The writer discusses the motivation of the artists to tap indigenous inspirations such as religion and popular art and points out some of the limitations or pitfalls of the art of the 1960s. The main intention of the artists was to replace the intellectual and aesthetic sophistication, dominantly Western, and to bring about a change in content.