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Prokash KarmakarNude Women, Fish shaped Eyes, Long Hair, Bright Painting, Mixed Media "In Stock"2004
2004
About the Item
Prokash Karmakar – Untitled – 13 x 10 inches (unframed size)
Mixed Media on paper
Inclusive of shipment in roll form.
Style : Legendary master artist Lt. Prokash Karmakar from Bengal was solely responsible for the Bengal Movement of Art. His father Lt. Prahalad Karmakar was a very famous legendary artist ; but unfortunately all his paintings got burned in the riot. Prokash Karmakar led a very tough life , ofthen sleeping on the platforms of the railway stations of Bengal. Later he worked in the textile line and simultaneously painted and exhibited his works on his own strength , until he got huge acclaim and success .
He was a master nude artist and painted women in their natural habitat. In his earlier days of artistic practice the Master Painter along with his contemporaries exhibited on street corners , to shun the four walls of the gallery .
Most of his earlier artworks capture remembrances from the past - some of them are very personal, and some are from the darkest moments of human history. More recently he has painted landscapes, depicting lush tropical vegetation, hills and valleys, seascapes and mangroves in their wild diversity.
Large fish-shaped eyes are assets of Prokash Karmakar females by which he is often recalled. More so because his female are rendered askew with voluptuous curves, drunken stare and sometimes wantonly explicit erotic gestures. At one time, quite early in his life his demonic damsels, fem mes’ fa tales, or nudes with fleshy shapes of sensual bulge or dismembered limbs or focused genitalia became his signature images. His landscapes too with their piquant painterly refashioning of natural forms and by sheer force of their varied recurrence became a subject-index of his style.
About the Artist and his work :
Born : Prakash Karmakar was born (1933-2014) in Calcutta.
Education :
Govt. college of Art & craft, Kolkata
Prokash Karmakar came from an artistic family; his father was a renowned artist of his time.
Unfortunately, all of his father's paintings were destroyed in the Hindu Muslim riots in the 1940s, which also ruined his family.
By 1949, both his parents had passed away, forcing him to abandon his studies at the Government College of Arts and Crafts, Kolkata.
He joined the army for two years and then quit to work as a graphic design manager for a medical firm in Kolkata.
Virtually penniless and desperate for a break, in 1956, he held a street exhibition, the first in the city, hanging his works along a corner.
Selected Exhibitions :
2008 - 'Hues of Bengal',Janues Art Gallery
2008 - 'Art from Bengal',Art Elements Gallery,New Delhi
2008 - ‘The Artecurate ‘, Mumbai Art Festival.
2007 - 'Signatures Images',Gallery Kolkata,Kolkata
2007 - ‘Uninterrupted Journeys’, Nitanjali Art Gallery,New Delhi
2007 - ‘Tales of Textures’, Art Elements Gallery,New Delhi
2006 - ‘Drawing show an act of Art –II’,Priyasri Art Gallery,Mumbai
2006 - 'Frames & Beyond',Neheru Center,Mumbai
1968-65-67 - National Art Exhibition, at Lalit Kala Academy, New Delhi
Awards :
2000 - He was a recipient of Abinendra Puraskar Award
1976 - Awards from Biria Academy of Art and Culture, Kolkata
1970 - Rabindra Bharati University, Kolkata.
1969-70 - Fellowship for Study in France.
- Creator:Prokash Karmakar (1933, Indian)
- Creation Year:2004
- Dimensions:Height: 13 in (33.02 cm)Width: 10 in (25.4 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Kolkata, IN
- Reference Number:1stDibs: LU60432610981
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Jogen Chowdhury has been widely acknowledged to be, the master of the unbroken line. Like Léger, Chowdhury has been stirred by the linear Kalighat pat tradition, but his lines are emotive and used to express and suggest the character of a person. This is done by, distorting the form without breaking the line and in the world of young, contemporary art; distortion has been Jogen Chowdhury’s most significant impact. Perhaps, because of this, a common observation of his work is that his “people” are caricatures. The person feels familiar to the viewer but it is far more individualised – the face is imaginary but the psyche or characteristics are real. The power and beauty of his technique and line is this play between the known and unknown. In Jogen Chowdhury’s work, the figure is always in the foreground, it is primary, it conveys everything. He uses colour to give volume to his figures and the fluidity of his lines bring a sensual aspect to his forms.
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1970 : A collection of his poems were published, titled ‘Hridoy Train Beje Othey’.
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