Nirode Mazumdar (11 May 1916 – 26 September 1982) was an Indian painter from the first generation of modernists, and a key member of the Calcutta Group. Almost a forgotten figure today, he strode the art scenario from the 40's like a colossus. Long before his other contemporaries recognised the importance of symbolism, he applied them generously to achieve his philosophical and artistic aspirations. His paintings are based on what he called 'constructive symbolism'. A significant artist of the last century, he was almost a cult figure amongst the art fraternity and a titan of 20th century modernism.
Early life
Nirode Mazumdar was born to Prafulla Chandra Mazumdar and Renukamoyee Mazumdar on 11 May 1916 at Calcutta. Prafulla Chandra used to serve in the police department. Renukamoyee had a keen literary interest and thus Nirode Mazumdar was exposed to literary activities and trends from his childhood. Nirode Mazumdar was born into one of Calcutta's most prominent artistic and culturally elevated families-the Mazumdar family of seven siblings. He grew up in an atmosphere of intense creativity.
His parents were originally from Taki, a town in the 24 Parganas district (now in North 24 Parganas district), but the family shifted to Calcutta. Nirode spent his childhood and adolescence in Kolkata (formerly Calcutta), India with his elder brother. At the age of six years, he started his studies in a school called "Bishnupur Shiksha Sangha" in Bishnupur with his elder brother Kamal Kumar but dropped his formal studies before completing high school. For sometime, he studied Sanskrit in a Tol at Kalighat. Nirode Mazumdar was the younger brother of renowned Bengali novelist Kamal Kumar Majumdar, their younger sister Shanu Lahiri (1928-2013) was also a noted painter and art educator.
Education Nirode Mazumdar was admitted into the Indian Society of Oriental Art in Calcutta in 1929 while he was only a mere boy of 13 and had his first education under Kshitindranath Majumdar, a student of Abanindranath Tagore. After he finished his course at the Indian Society of Oriental Art in 1939, Mazumdar was awarded the Norman Blount Memorial Award for his artistic skill. However, while studying under Abanindranath, Mazumdar was showing signs of disapproval and rebellion with how outdated the Bengal School was in keeping up with the socio-political climate at that time.
"As a young man he was involved in their search for roots. At the end of his period of apprenticeship with Abanindranath, he rose up in revolt. He felt the school was a gymnasium that taught students the futile methods of rendering the classics in paraphrase."
Much later, we get a more clear understanding about his complex relationship with Abanindranath Tagore and the Bengal School from 'Smritir Collage- A Collage of Memories' the memoirs of his sister Shanu Lahiri-
"From time to time Niru-da would take some of his paintings and visit Abanindranath Tagore. Abanindranath was then associated with the Oriental Art School. “Here comes Lanky!” Abanindranath would exclaim as soon as he saw Niru-da. “Get him here, let’s have a look at his paintings.” Niru-da would show his latest work: might be a composition of Rajasthani women walking in a graceful rhythm with three pots balanced one atop the other on their heads. “Why so many pots?” Abanindranath would say. “Well, there’s never enough water in Rajasthan, so the women always walk with as many pots as they can balance.” “No, no! We’ll manage quite well with one pot. No point having so many. This is a painting! You must paint only so much as will look good in the painting.” Niru-da would tell me many years later, “We have hardly had an artist with the kind of knowledge of painting that he had. It was only Abanindranath who understood the relationship of painting to Nature, and how the ‘real’ object was transformed in painting.” I’ve heard Niru-da say that Abanindranath’s was as temperamental as a zamindar. If he happened to fly into a rage he might say “Get out of here!” But the very next moment he might invite you affectionately to have a meal. And then for a couple of minutes, he would have a long pull on his gar-gara. Such heavenly fragrance would fill the air and the sky. Their home hosted a long procession of eminent people. It was an absolutely inspiring environment. Niru-da also had many occasions to meet Gaganendranath amidst the crowd at the Tagore household." The fact that Nirode Mazumdar along with the artists of his generation felt that the Bengal School was out of touch with current trends of the country and abroad like The Bengal Famine and the World War, was instrumental in the formation of The Calcutta Group in 1943.
In 1946, he received a scholarship from the French government to study painting in France. Mazumdar entered Paris during its golden period, Artists like Pablo Picasso, Georges Braque, Henri Matisse and Constantin Brâncuși were at the helm of their careers, students from across the world were flocking to Paris as it was the Mecca for the art world, studying at the various academies and studios, engaging in the café culture where long discussions on art with fellow students and friends took place. Mazumdar quickly became one of them. He studied and worked in the studio of French artist André Lhote, in Paris. Between 1946 and 1951, Nirode Mazumdar stayed is in Paris, and worked in different Parisian studios and participated in various exhibitions of foreign painters mainly at the École des Beaux-Arts. At the same time, he studied General History of Art along with 19th and 20th century painting at the École du Louvre. In Paris, Nirode Mazumdar actively embraced the French culture. He liked Paris so much that even when his term at the Louvre was over, he decided to stay on in Paris. The scholarship having ended, Nirode was forced to take on a school teacher's job.
Career In 1946 Nirode Mazumdar had his first one-man show in Calcutta. In 1949, he had a one-man show at Paris, which was presented by the art critic and poet Stanislas Fumet. In the same year 1949, he has an opportunity to visit Holland and to learn, in Utrecht, the technique of engraving which later on would have a bearing on his art. He left France for England in 1951 and there, he took part in exhibitions organized by the Indian High Commission in London, group shows, held at the India House and worked for some time as a curator of the art gallery there. It is actually in London where his new trend of thought takes shape.
In 1955, he returned to France. Back in Paris, Nirode continued his pictorial research, at the same time, plunging into the oriental philosophies, mythologies, his cultural heritage, and, in 1957, exhibits a series of oil paintings "Images Ecloses" (Blooming Images) in his Paris studio, the fruit of his research and study. These works were presented by Jeannine Auboyer, curator of the Guimet Museum(National museum of Asiatic Arts) Paris, at the time. This series of paintings was a turning point in his career. The highly original series of 23 paintings marked a decisive departure from the artist's past works. With it Nirode Mazumdar found what he was looking for all these years. The exhibition gave a sense of fulfillment and direction. By the time he came into his own, he had rejected Paris and her themes. He bade a total goodbye to the past by tearing up all his old paintings, many of which had been highly praised both in Paris and in London. After spending 11 years in Europe, especially in Paris, he returned to Calcutta in 1958. With him came his wife Marguerite, and their children Oditi Gallin-Mazumdar and Chittrovanu Mazumdar. And he left behind numerous close friends that included, Georges Braque, Constantin Brâncuși, Jean Cocteau, André Breton, Jean Genet and others.
From this time onwards and on his return to Calcutta, Nirode Mazumdar kept on working, searching, researching in pictorial, aesthetic, as well as philosophical domains. He painted large canvasses. Gradually, he moved towards Tantric themes in his work, and often explored a single concept over a series of paintings. His work remained rooted in the pictorial tradition of Bengal, which he harmonized with European modernism.
The Calcutta Group The history of The Calcutta Group remains a bit obscure. However the history of its formation can be traced back to Shanu Lahiri's memoirs- 'Smiritir Collage-A Collage of Memories'
"Coming back to the Calcutta Group, it had a strange beginning. It would be quite difficult to provide a proper history. Rathin-babu [Maitra] was a class friend of Subho Thakur at the Government Art College. He was a frequent visitor at the Jorasanko Thakurbari. Around that time, i.e. 1938 or so, Gopal Ghosh was working with Kanwal Krishna at the corner of Cornwallis Street. Rathin babu was also known to them. Subho Thakur’s Neel rokto lal hoye gelo (Blue blood turns red) had just been published...around 1942 or ‘43. Baba had read the book: he praised it. Ma read out parts of the book to all of us at home. Rathin-babu’s mother was equally surprised and pleased when she read the book. And she asked her son, why don’t you bring Subho home one day? Rathin-babu obliged and took his friend to meet his parents. Subho Thakur expressed his desire to bring out a magazine and also mentioned that he didn’t have the funds for it. I believe Rathin-babu’s parents helped him out with some money for the magazine. Subho Thakur was a frequent visitor to our home as well; he liked looking at Niru- da’s paintings, and chatted with us all. I remember one time when dada and Niru-da had just come back from Rikhia and Niru-da was painting with thick lines at this time; the work had an overall bold effect. Have you seen the line drawings that Niru has been doing? Rathin-babu asked Subho Thakur. Niru-da had not as yet begun work in oils. He was still working along the ‘oriental’ line/style. In 1943, during the time of the Bengal Famine, Niru-da and Subho Thakur brought out a new magazine called Atikrama (trans) under their joint editorship. Niru-da's line drawings were first brought out in this magazine. Perhaps there are many who do not know of this magazine. The three of them brought it out together. Alongside, they began to plan and organize the Group.......Perhaps in our context the contribution of the Group may not amount to much, but undoubtedly at one point the Group served as a landmark, initiating new directions....Subho Thakur's home on S.R. Das Road was where they held their first exhibition. The house was full of paintings by each of the artists. The then governor's wife Mrs.Casey inaugurated the exhibition. Quite an event it was, replete with police, motorbikes and all the rest. At first the two people who held it together was Rathin Maitra and Subho Thakur. Later on came Gopal Ghosh, the sculptor Prodosh Dasgupta and Paritosh Sen. Niru-da introduced Prankrishna Pal. Satyajit Ray used to live opposite our house near the Triangular Park. He too often came to these sessions, which would flow out into the street as people walked to Prodosh Dasgupta's studio at the other end of the road. Prodosh-babu's wife, whom we addressed as Kamal-boudi was a regular too....However, well before 1947 when Niru-da left for Paris both Rathin Maitra and Gopal Ghosh had left the Group. Meanwhile, Goverdhan Aish and Rathin Mitra had joined. I too was invited after I passed out from the Government Art College. I believe it was Prodosh-babu who invited me. But I had never really liked the Group."