K.G. Subramanyan is a Renaissance man in the truest sense of the term. This multidimensional artist has been working with awesome energy for over six decades. He has not only created works on canvas, but has also explored with great success several other mediums such as paper, glass and terra cotta. He has written and illustrated children's books and created a large number of artistic toys. Studying and working at Santiniketan under mentors like Nandalal Bose, Benode Behari Mukherjee and Ramkinkar Baij have left a remarkable impact on his artistic outlook and practice of art. 

While talking of influences on Subramanyan, Shiv Kumar in his book on him, The Painted Platter, says, "To become multi-professional as artists, designers, communicators rather than limited specialists and shaping a context sensitive modernism without giving themselves up to self-aggrandising individualism were matters of deep faith for them. These factors had a lasting impact on Subramanyan's work and thoughts. Moreover, Benode Behari and Ramkinker were themselves highly resourceful artists who worked in several mediums." 

So it is not surprising that such influences contributed to his becoming a modern Renaissance man. Varied work experiences at Santiniketan. Baroda, the Slade School in London and the Handloom Board have all contributed to the shaping of his creative genius and to the enrichment of his personality. 

He had evolved his own individual idiom very early in his artistic career. A strong element of dynamism can be seen in the way he has drawn eclectic cues from western art, along with those from traditional Indian art and crafts. Moreover, like his mentors he, too, does not believe in the rigid 'art-craft' divide and his large- scale murals and toys are a testimony to this 

In this exhibition of enchanting paintings, most works emerge as rich figurative images. A grand configuration of sensuous vitality, sophisticated colour drama, human and animal forms, floral patterns and wit mark these works that are remarkably devoid of sentimentality. Special mention may be made of 'Cat and Pot of Flowers' and 'Dream of Kailash', both on canvas, in which his superb colour language is at its best. 'Puja Room' is another typical Subramanyan painting, full of fun, wit, humour and lyrical movement. Tipu's Last Days' is a sensitive rendering with rich colours and controlled anguish. 

A consistent pattern of spatial colour divides is used in a very unique way to create a rich juxtaposition of the central human figures with flora and fauna that often act as accessories to highlight the protagonists in the rich drama that unfolds in each visual. The spatial divides create a theatrical ambience as well. 

Similar colour drama continues in the circular formats in the papier mache lavdis (platters). Subramanyan's gods and goddesses in the deity series on 'tavdis, are equally enchanting. The divine beings are created with robust vigour of masterly strokes set in exuberant rich colours. Fascinating hues of peridot greens. marine blues, ruby reds, and several earth colours have been choreographed with meticulous care and the juxtaposition of these colours create magical transformations, resulting in rich images. 

Amorous couples, women with a sensuous gaze, single adolescent girls and separated lovers are often seen caught in the web of their everyday life. Domestic interiors with tapestry details, pet cats or birds, floral patterns-all inhabit these worlds and add to the ideas of fun, pun, wit and satiric humour. These remind one of Issac Bashevis Singer's short stories and linger on in one's memory. 

The artist employs interesting painterly devices to express the inner turmoil of the central figures. One finds the use of symbols such as flying birds and interesting gesture language enlivening many of these works. 

From Subramanyan's mature creative vision and a spirit borne out of his child-like wonder there comes alive a tender note of carnival delight, expressed with seductive charm. A general idea of celebration of life appears to be the central thought in many of the works displayed here. 

Sumati Gangopadhyay