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Sujata (1935), modelled after fellow artist Jaya Appasamy, is the earliest sculpture he made with cement. The following year, he had a chance to observe Marguerite Milward—student and assistant to French artist Antoine Bourdelle—who had travelled to India to make a bust of Rabindranath Tagore. Although Ramkinkar Baij chose life in interior Bengal over modern cities, he is undeniably one of the pioneers of contemporary Indian art. It is his mostabstract sculpture and the only such strongly subjective and nonhagiographicportrait of Tagore by any artist. However, many of his artistic creations have been inspired by the lifestyles of rural dalit or Adivasi (Santhal) communities living in and around his place of work Santiniketan.

With this seminal work Ramkinkar established himself as undoubted modern Indian sculptor. The use of cement and laterite mortar to model the figures, and the use of a personal style in which modern western and Indian pre-classical sculptural values were brought together was equally radical. In a country where all public art-work was undertaken only at the behest of Government commissioning and executed in consonance with the taste of conservative ruling elites, this was a radical departure. Ramkinkar used this opportunity to make monumental public sculpture, undertaken entirely at his own initiative. Four years later Ramkinkar joined the Visva-Bharati University at Santiniketan as a student of fine arts.

Santhal Family (

The short, unfinished documentary, shot by Ghatak in 1975 and completed by his son in 2008 for the exhibition, presents a series of strangely staged conversations between the director and his subject. This is, of course, a somewhat specious point on my part, in that it could be applied to almost anything – ‘Why do it like this? For many of the complex cultural questions of ‘unbelonging’ (as discussed by Geeta Kapur and Irit Rogoff in an event at MuHKA that took place during the exhibition) can’t be tethered by location, or rather more specifically ‘site’, and consistently shake off attempts at fixing meaning.

• Many of his students went on to become prominent artists and sculptors, continuing his legacy of modern Indian art.
• The colossal Yaksha and Yakshi sculptures at the Reserve Bank of India, New Delhi, brought Baij recognition, even though they differed in style from his other work.
• Known for his larger-than-life outdoor concrete statues, Baij broke the shackles of British studio sculpturing taught in the Anglicised curriculum of colonial colleges of art.
• Despite good intentions, a polyvocal exhibition at MACAAL, Marrakesh, reaffirms the Malagasy artist as the star of the show

However it does so at a price, for the exhibition’s socio-political panorama is so encompassing and yet so detailed, that the flux this creates in its viewer is the very embodiment of disaffiliation, at once pushing us away, yet inviting us to look closer. Untitled (2008) looks as though it has erupted from the gallery’s foundations, mutinying against the concrete floor, creating a physical baji live 88 ‘volatile dispersal’ of interpretation though its bitty presence. The works that succeed best at plotting themselves in some way against (or maybe alongside) Santhal Family are those that slip outside a direct dialogical relationship with the sculpture, instead floating near it with an attitude of concentration or obtusely enacting it.

The art form of the male ‘Yaksha’ was drawn from the statue of the ‘Parkham Yaksha’ in the Mathura Museum and Yakshini was derived from “Bisnagar Yakshini” from the Calcutta Museum. He was invited to participate in the Salon des Salon des Réalités Nouvelles in 1950 and in the Salon de Mai 1951. Ramkinkar was singularly reticent and otherworldly as he was single-minded in his commitment to art and humanity.

He makes the tall sculpture Sujata, modelled on Jaya Appasamy, a student at the time in Kala Bhavana, who went on to be a noted critic and art historian. Joins the faculty of the sculpture department at Kala Bhavana alongside Nandalal Bose and Benode Behari Mukherjee, where heremains for most of his career. He teaches art briefly at Modern School, New Delhi.Makes a relief sculpture of Saraswati for the hostel at Modern School. ‘It repeatedly occurred to me when I did paintings or sculptures, that I have to be independent. The colossal Yaksha and Yakshi sculptures at the Reserve Bank of India, New Delhi, brought Baij recognition, even though they differed in style from his other work. 24 January 2013 the first Ramkinkar Baij Memorial Lecture was delivered by one of Ramkinkar favorite students, the eminent artist K.

Born on 25 May at Bankura to an economically weak family. A similar spontaneity of action is visible in his transparent watercolours and drawings, particularly in the sequence of nudes. Samaresh Basu’s unfinished novel Dekhi Nai Phire (I did not look back), cut short by the author’s death, is also a classic piece based on Ramkinkar’s life. A Calcutta publisher, Monfakira has an English book on ramkinkar, ‘self-portrait’, translated from Bengali by Sudipto Chakraborty of Ranchi. The once controversial bust has been replicated by the Indian government and given by it to a number of foreign countries including Colombia, Finland and Israel.

A student organises a joint exhibition of his works along with those ofBenode Behari Mukherjee at New Delhi. Completes Lamp Stand, considered the country’s first abstract sculpture. The same year, he makes The Poet, a study in cement of Rabindranath Tagore’s head that stands out for its startling distortion. Makes a sculpture portrait of Ustad Allauddin Khan on the latter’svisit to Santiniketan. Viennese sculptor Liza von Pott takes sculpture classes at KalaBhavana with Baij and Sudhir Khastgir as students.

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In the 1950s, the Reserve Bank of India commissioned Baij to make dvarpala (protective figures placed outside the doors of temples) sculptures for its New Delhi offices. A bronze cast of the sculpture forms part of the collection of the National Gallery of Modern Art, New Delhi. In 2016, this cement sculpture was showcased by DAG at Masterpiece, a multi-dimensional art fair in London.

Ramkinkar Baij (1906–80) was the vanguard of modern Indian sculpture along with Sankho Chaudhuri, D.P. Roy Chowdhury and Prodosh Das Gupta. Working at a time when traditional art was transitioning to modern art, Baij’s work proved to be crucial to Indian art history. Groomed by his mentors, Nandalal Bose and Tagore, the clay modeller turned artist. Ramkinkar Baij was the earliest Indian artist to experiment with abstract sculptural forms. An artist of the masses, he began as a traditionalist, but soon started experimenting with more Western approaches, including Cubism and abstraction. Stay up to date with gallery exhibitions, news and events.

He is commissioned by the Reserve Bank of India to make two sculptures based on classical Indian sculpture. He is invited by the Government of Nepal to make sculptures. The same year, a few months before Tagore’s death, he makes a highly realist bust of the Nobel laureate from life. Completes Santhal Family, arguably India’s first modernist publicsculpture, made with cement and laterite mortar and depicting tribalpeasants.

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en.wikipedia.orgSanthal Family – Wikipedia

Sign up with your email to receive news and updates on our upcoming exhibitions and programs. Later, he headed the Department of Sculpture at the Kala Bhavan. Does it matter whether the rich and elite class demands my art or not? Which means apart from food, clothes and reproduction, there is another purpose, whose name is creativity. The two monumental works, Yaksha and Yakshi, are completed and installed on site at the entrance to the RBI headquarters in New Delhi only a decade later. Makes Mill Call, his last monumental outdoor sculpture.

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