Page 13 - N S Bendre - Selected Works 1935 - 1991

The artist thinker:
A portrait of Bendre,
attributed to
artist Walter
Langhammer

him the Patel Trophy for his work. This period Santiniketan was a hub of cultural
showcased his evolving artistic language as confluence where tradition coexisted
he embraced a simplified aesthetic while with modernity and dialogues between
intensifying the interplay of sunlight in his Indian and global sensibilities were
works. Despite the recognition he had garnered, freely fostered. The environment of
Bendre’s artistic growth was fuelled by a relentless unrestrained intellectuality inspired
drive to continue exploring alternative modes Bendre deeply and ushered in a phase
of art practice. This was also complemented of his work often referred to as the
by his eagerness to experience India’s diverse ‘Indian Interlude.’
natural and cultural panorama and express them During and after his stay in
through his creations. So when an opportunity Santiniketan, he produced a series
to stay in Santiniketan as a guest artist emerged, of tempera paintings that showcased
Bendre was thrilled to accept it. his deft mastery over line and
At Santiniketan, he met draughtsmanship. This integration
the towering figures of the of line was a significant shift as
Bendre’s Bengal School, including this element had been previously
unique Abanindranath Tagore, missing in his colour-dominant style.
perspective Nandalal Bose, and The experience led him to explore
as a master Jamini Roy. Studying stylisation through amalgamating
colourist came the murals and facets of naturalism, modernity, and
from an unbridled paintings of traditional Indian aesthetics. The
Nandalal Bose and
resulting works were testaments to his
exploration of Benode Behari appetite for artistic evolution, much
hues. He also Mukherjee, and the before his bolder experiments with
formulated his pulsating energy Cubism in the 1950s.
own distinct and in the works of In the 1940s, Bendre also
unprecedented Ramkinkar Baij, led embarked on a journey to the West.
style of him to understand He felt that before settling down as a
modulating the distinctiveness of full-time artist, he needed to study
colours two divergent schools of more and wanted to present the case
thought—the sentimental of contemporary art of India on a stage
revivalism and the receptive that had hitherto been more inclined to
approach of the avant-garde— the appreciation of ancient Indian art.
prevalent in Calcutta (now Kolkata) at the time. Departing from Bombay on a

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