|Bimal Das Gupta|
The oeuvre of Bimal Das Gupta, during his artistic endeavors of more than four decades, shows a certain deftness with which he adequately transcribed the outer semblance of things a much as required by his aesthetic ideals and which strongly colored his emotions, whether these were his early watercolors of the fifties or later paintings in oils or acrylics.
He presents moments of subtle aesthetic variation in the important periods of change in his outlook, or one may say, of development in his approach, which ultimately led him to the universal molding essence, the universal harmony which is the aim of oriental art.
The harmony in his artworks is suggested through the external appearance of nature in its myriad forms.
He strove to display the sense of the universal rhythm of such organic forms in nature that create a sense of wonder in the human mind.
Bimal’s paintings, depicting subjects in nature itself-flowers, mushrooms, rock, moss, fossils, weeds, sponges, corals, shells and send dunes-are radiant and sparkling.
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They are filled with intent, with suggestive power. He used the character of a line an arrangement of shapes and a harmony of tints to present his entire outlook upon life and thought.
He arranged the elements of plastic expression with a view to satisfying the sense of rhythm to balance, and to express certain abstractions that were natural and fascinating to the mind.
And his unusual textural effects are arresting and give rise to a strange atmosphere.
The secret of his exotic or mysterious images was an unflagging study of shapes and a remarkable gift of imagination.
His move from the early representation of nature, as in his excellent watercolors, to later fantasies in oils and acrylics, indicate his realization that the aim of art was not the reproduction of nature; that representation of natural forms was only a by-product of more serious aims; and that invisible.
In Bimal’s paintings, the images achieve a decorative validity by the placing of various elements of the picture to form a striking pattern.
From one ‘tache’, another follows as a decorative necessity, which in turn is closely linked to concrete values and color sensations. The symbolic intention, whenever implied, and the beauty of form and color, are almost synonymous.
Even the symbolic forms in his tantric series assume flowing, landscaped features-all rendered in an eloquent stylization.
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