K.G. Subramanyan is a Renaissance man in the truest sense of the term. This multidimensional artist has worked with awesome energy for over six decades. He has not only created works on canvas, but has worked on several other mediums such as paper, glass and terra cotta  and 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, Benodebihari Mukherji and Ramkinkar Baij have left a remarkable impact on his artistic outlook and practice of art.  

While talking of influences on him, says Shiv Kumar in his book on K.G. Subramanyan, The Painted Platter , “ 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 Benodebehari and Ramkinker were themselves highly resourceful artists who worked in several mediums.” 

So it is not surprising that such influences contributed to Subramanyan’s becoming a modern Renaissance man. Varied work experiences at Santiniketan, Baroda and the Handloom Board and the time spent at the Slade School in London 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 arts 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 abstracts. 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. 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. ‘ Tippu’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 enhance 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 other circular formats in the papier mache ‘tavdis’ (platters). Subramanyan’s gods and goddesses, or the diety 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, voluptuous women, single adolescent girls and separated lovers are often seen caught in the web of their everyday life. Domestic interiors with tapestery 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 Isac Bashevis Singer’s short stories and linger on in one’s memory.  

The artist often 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. In some images one can see voluptuous women with a sensuous gaze. 

From the artist’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 Subramanyan’s works displayed here.  

Sumati Gangopadhyay