The word “eminent” is used as a cliche, but not in case of Jogen Chowdhury who is no more. The word fitted him like a glove.
A towering figure in modern Indian art, Chowdhury is best known for his fusion of traditional iconography with a contemporary sensibility. Kalighat patas and artists like Jamini Roy merged with socio-political realities in his works.
It held up a mirror to the present society. Chowdhury ‘s works were marked by a laborious cross-hatching technique which took a lot of patience and commitment.
But Chowdhury was never wanting in these qualities as a look at the life and times of the man who came to West Bengal after being refugeed by Partition reveals. It looked simple at a first glance.
But it was not. He managed to express subtle and sophisticated ideas.
His famous painting ” Tiger in Moonlight” captivate viewers. It makes them realise why Chowdhury stood out among his peers.
His paintings were infused with depth. And he can be stated to be arguably unmatched in this ability.
Chowdhury embraced all art. He refused to compartmentalise artists and their movements.
Serving as “Keeper of Art’ at Rashtrapati Bhavan for nearly two decades, the curator in him surfaced. He curated expensive art collection and supervised its management and conservation.
But Chowdhury remained an artist at heart. Small wonder, he seamlessly made his way into academic life at Santiniketan after his tenure at the official residence of the first citizen of the country ended.
Chowdhury’s art was not confined to the studio. The onetime Leftist was nominated a Trinamool Congress member of the Rajya Sabha.
The eminent painter raised the issue of GST on the works of art. This gives more than an inkling that he was grounded in reality despite spending quality time among paint brushes and easel.
Chowdhury also raised the issues of institutional challenges faced by the artists. This is a pointer that whether in his studio or far away from it, the artists community was always close to his heart.
There was no question about his stature as an artist. It was his integrity that drew attention at the House of Elders..
The world of eminent artists is an intimidating one. One has to be careful making his/her way through it lest a distinguished member take offence.
Chowdhury occupied a place of honour in this hallowed space. His was a welcoming presence.
His smile put newcomers at ease. It was warm and never failed to meet the eye.
The graduate of Government College of Art and Craft, Kolkata Chowdhury won a scholarship to France. But his training in print making and painting at Ecole Nationale Superierure des Beaux-Arts, Paris did not disconnect him from his roots.
Chowdhury was an elegant man. He was a pride of Bengal and India.
