|
Rabindranath Tagore's
Exhibition
At Government School of Art, Calcutta, 1932
| This article is reprinted from 'Art & Deal', August-September,
1999. |
| Satyasri Ukil presently working at the Delhi University,
in this well-researched article based mainly on the archival
documents and memorabilia, has proceeded to restructure the
pragmatic aspects of a historic exhibition held of Rabindranath
Tagore's Paintings, which was sponsored by the artist Mukul
Dey. Many interesting facts have been revealed as a result
of this article. |
It would have been proper to provide a backdrop of Rabindranath Tagore/Mukul
Dey relationship before attempting to restructure these pragmatic
aspects of an exhibition, which might generate controversies regarding
certain ideological questions in the end. Artist Mukul Dey, the sponsor
of this historic exhibition was a student of Tagore's school at Santiniketan
during the years c. 1906 till 1912. Once a disciple and protege, later
on a rebel and a deserter (Dec. 13, 1917) Mukul Dey came back from
U. K. to take the charge of Government School of Art, Calcutta, on
July 11,1928 as its first Indian Principal. Our story begins here:
at Calcutta, in the year 1928. As source material to examine and narrate
the topic mentioned above we have a set of nine letters of Rabindranath
Tagore to Mukul Dey between Nov. 1928 and Nov. 1933; one printed and
published illustrated catalogue of this exhibition; a set of six money
receipts; one letter of poet's son, Rathindranath Tagore, to Mukul
Dey dated March 18, 1932 and two newspaper clippings of 'The Statesman',
Calcutta, 1932. We know that the first ever Tagore exhibition took
place in Gallerie Pigalle, Paris from May 2,1930 till May 19,1930.
What history and several chroniclers tell us as a chance discovery
of a genius by a French journalist at an obscure country-house on
the shores of South of France may not be a matter of as simple a coincidence
as that. In July 1928, exactly twenty-two months before his Gallerie
Pigalle exhibition, Tagore had stayed for a
In July 1928, Tagore had stayed for a period of time at Mukul
Dey's residence... During this period he had absolutely immersed
himself in his paintings. This photograph was taken at Dey's
residence: 28 Chowringhee Road Calcutta. |
period of time at Mukul Dey's residence at 28, Chowringhee Road, Calcutta.
During this period he had absolutely immersed himself in his paintings
and, if not more, completed at least one hundred and twenty six finished
works. During the very same period Mukul Dey, as a loyal admirer of
Tagore's art had photo-documented his paintings/drawings to make 53/4"
x 61/2" glass-plate negatives, to prepare finally
half-tone blocks out of them. However, after about two years, when
the obvious question came of organising an exhibition of his paintings,
Tagore very decidedly chose the cultural arena of Paris and Berlin
to hold his show. As early as 4th Agrahayan, 1335, (corresponding
to Christian era November 1928) he writes to Mukul Dey: "(here)
a few people are advising to exhibit them in Paris and Berlin. If
that gets finalised then I will not be publishing them (the paintings)
prior to that. Some of these I wish I could engrave on wood... shall
discus (with you) when you come". In a subsequent letter
dated December 10 1928 Tagore writes: "Rathi and Bouma have
gone to Calcutta for two days. If you hand them over my paintings
blocks and negatives, they can bring them here. If I need to make
any payment for them, let me know the amount and send the bill so
that I can settle it. I am very busy these days for the Viceroy's
forthcoming visit". For one long year, from May 1930 to May
1931, Tagore's exhibitions in France, U. K., Germany, Denmark, Switzerland,
U. S. S. R. and U. S. A. were sheer history with a remarkable trail
of success and appreciation. However, when back in India, Tagore was
as sceptical as before about his Indian audience but never short of
pragmatic wisdom.
He writes to Mukul Dey on June 6,1931 from Darjeeling: "I
have titled the paintings. You can view them when I am in Calcutta.
But let me tell you if they do not sell, I do not want to exhibit
them. Aban
was telling me (that) in these bad times of the world there
is hardly any chance of selling them. If, at least, I get fifteen
thousand rupees, that will take care of my needs for the time being.
Otherwise, I don't see any reason to expose myself to the critics'
sarcasm. I do not believe that these strange paintings of mine will
elicit any appreciation from the people of my land. When I go abroad
next, I will take them with me". Precisely, why Tagore expected
to sell his paintings to an apparently unappreciative and dull audience
is beyond my personal comprehension!
At this point of our story I am almost certain that there is definitely
a body of correspondence from Mukul Dey to Tagore, but unfortunately,
all my efforts to access them at Rabindra Bhavan, Visva Bharati have
not yielded any result so far.
Catalogue cover of the1932 exhibition of Rabindranath Tagore, sponsored
by Mukul Dey. |
On 3rd Ashadha, 1338, (Christian era June 18,1931) Tagore writes to
Dey: ''Okay I will unveil my veiled paintings (purdah-nasheen)
during the winter, then let the people speak and say whatever they
feel. When they will felicitate me at Calcutta, the painting exhibition
should coincide (with it), so many more will come to notice it".
Here, obviously, Tagore was referring to his forthcoming felicitation
at the Town Hall; Calcutta scheduled in December 1931. However, most
of the chroniclers are strangely silent about this chronologically
first exhibition of Tagore on Indian soil, and that too in the city
of his own home. Automatically the question arises whether the audience
had not been appreciative or, was the sales been poor? Personally,
I am yet to learn anything conclusive about this particular exhibition
of Tagore, which was most flimsily chronicled even by his noted biographer
Prabhat Kumar Mukhopadhyay. Why?
| How ironical! Tagore the poet, receiving critical acclaim
in Bengal only after his Nobel Prize, and a later point of time,
Tagore the painter, skilfully engineers his shows in the West
first and then only ventures to meet his Indian audience armed
with a defunct knighthood |
In February, 1932 (initially, from Feb. 20-29,1932, but later on extended
till March 7,1932) and after about one and a half months of the Town
Hall exhibition, the audience at Calcutta had witnessed the grand
spectacle of an Exhibition of Drawings, Paintings, Engravings, Pottery
and Leather work by Sir Rabindranath Tagore at Government School of
Art at 28, Chowringhee Road. That was how the illustrated catalogue,
brought out on this special occasion, had introduced Tagore the artist,
to his own people in Bengal. How ironical! Tagore the poet, receiving
critical acclaim in Bengal only after his Nobel Prize, and at a later
point of time, Tagore the painter, skilfully engineers his shows in
the West first and then only ventures to meet his Indian audience
armed with a defunct knighthood discarded long ago after the April
13,1919 massacre of Jallianwala Bagh, at Amritsar. I anticipate that
Mukul Dey could be blamed for that unwanted prefix to Tagore's name,
but was he alone responsible for it? Could it not have been an aspect
of a broader stratagem?
| The February 1932 exhibition was entirely sponsored by Mukul
Dey. In the illustrated catalogue published on the eve of this
event Principal Dey wrote: "The Poet-Painter makes an entirely
new departure in representing the reality of life with his own
vigorous masterstrokes, which know no faltering. His pen and
ink pictures are veritable masterpieces." |
The February 1932 exhibition was entirely sponsored by Mukul Dey.
It consisted of two hundred and sixty five original works by Tagore
in various mediums, apart from seventeen craft works by his son Rathindranath
and daughter-in-law Pratima Devi. In the illustrated catalogue published
on the eve of this event Principal Dey had introduced Tagore the artist
in no uncertain terms. He wrote: "It may be asked why the
World Poet, in the evening of his life, has almost forsaken his masterly
pen to wield the brush. The reply is not far to seek. What appears
to not an inconsiderable number of critics as the effeminate characteristics,
which mar the beauty of New Bengal School of Art, has not escaped
the notice of such a keen observer as our Poet. On the other hand,
in Rabindranath's opinion, it is idle in these days to make efforts
to revive anything approaching the sublime grandeur of the Ajanta
School. The Poet-Painter makes an entirely new departure in representing
the reality of life with his own vigorous masterstrokes, which know
no faltering. In his seventieth year, the poet's fingers are tense,
and show no tremulousness. His pen and ink pictures are veritable
masterpieces. The figures drawn by the poet with a single stroke of
the brush vividly bring out the vitality of the inspired art of Rabindranath.
His paintings have in them great movements. His portraits are the
very embodiments of vitality of expression". Mukul Dey concludes
his Foreword with equal clarity. He writes: "Already his (Tagore's)
paintings have attracted worldwide attention. Very high prices were
paid for them in Germany, America, France and other places. Museum
and private collections in the West bought his pictures and paid prices
to the extent of 400 to 700 dollars each. This exhibition offers an
opportunity for the first time in this country to secure specimens
of his priceless paintings and drawings with his autograph at a moderate
price as the illustrated catalogue will show".
| As was expected, the exhibition proved to be a grand success
both in terms of attracting the glitteratti and sales. immediately
after the exhibition was over, something went wrong. Whereas
Dey kept on making payments of the sale proceeds to Tagore's
son Rathindranath; the poet assumed and complained that no payments
were being made since nothing reached him finally. |
As was expected, the exhibition proved to be a grand success both
in terms of attracting
the glitteratti and sales. Rani Chanda, Principal Dey's younger sister
had narrated vividly the general mood of jubilation prevailing at
28, Chowringhee Road where Tagore was staying those days. However,
immediately after the exhibition was over, something went wrong. Whereas
Dey kept on making payments of the sale proceeds to Tagore's son Rathindranath;
the poet assumed and complained that no payments were being made since
nothing reached him finally. We do not know what exactly was happening.
May be at a future point of time some scholar who could access Dey's
letters to Tagore in Rabindra Bhawana collection will be able to tell
us what exactly went wrong and where! So far I have been able to locate
five revenue stamped and dated money receipts for a total amount of
Rs. 5,025/- (Rupees five thousand and twenty five only) and further
a list showing the break-up of the prices of lacquer and leather goods
purchased by Dey from this exhibition. According to this list a debit
balance of Rs. 23 & 8 Aanas still stand in the name of Mukul Dey.
The last of the receipt was issued on April 12,1932.
| On July 2,1932 he (Rabindranath) writes to Dey: "I never
had a word with you regarding the sale proceeds of my paintings.
You had repeatedly told me that while dealing with you I would
never have to bother about the payment. I will appreciate if
you would willingly settle the account". |
However, Rabindranath is most vocal in his letters regarding the sale
proceeds. On July 2,1932 he writes to Dey: "I never had a
word with you regarding the sale proceeds of my paintings. I thought
I would remain silent in this matter. But the difficult times force
me to write. You know that my zamindari has stopped functioning. Even
then I was not perturbed. But (now) I have received information from
Germany that Nitu is affected with consumption. I have to send Mira
there. Therefore, at this difficult hour, I am compelled to remind
you about my due payment. You had repeatedly told me that while dealing
with you I would never have to bother about the payment. (It is) useless
to worry now. I will appreciate if you would willingly settle the
account. I will dislike to enter into any controversy with you regarding
this".
| . in none of the letters Rabindranath mentions of having
ever received any payment through his son to whom Mukul Dey
had made at least five different payments between Feb. 28 and
April 12,1932. |
It is strange that in none of the letters Rabindranath mentions of
having ever received any payment through his son to whom Mukul Dey
had made at least five different payments between Feb. 28 and April
12,1932. Dey's Visitors Book bears testimony to the fact that both
at the opening and closing of the exhibition Tagore himself was physically
present at the venue. Even then why the payments were always made
to Tagore's son remains a mystery.
| Mukul Dey went to debts considerably, as a result of holding
this grand show. His wife Bina Dey reported that it took him
till the first half of 1934 to clear his accounts with his creditors.
|
Mukul Dey went to debts considerably, as a result of holding this
grand show. His wife Bina Dey reported that it took him till the first
half of 1934 to clear his accounts with his creditors. On one such
occasion Dey's wife had to mortgage her gold ornaments to pull him
through the bad patch!
| Tagore wrote to Mukul Dey from Santiniketan: "I am not aware
of any expenses incurred by you for my exhibition of paintings.
I never knew that I would have to share any expenses to mount
that show. If now you are facing any financial trouble due to
my exhibition, I am really very sorry". |
The curtain came down on this historic event in the form of a short,
terse letter of Tagore, dated Nov. 6,1933. He wrote to Mukul Dey from
Santiniketan: "I am very pleased to receive your letter of
Oct. 12th. I am not aware of any expenses incurred by you for my exhibition
of paintings. Rathindranath had a word with you regarding
that, and he is experienced. Therefore, I think it is a futile exercise
on your part to elicit any proper answer from me regarding
this. I never knew that I would have to share any expenses to mount
that show. If now you are facing any financial trouble due to my exhibition,
I am really very sorry".
Thus, almost exactly after five years, the affairs of one of the most
important Tagore exhibitions ever organised in India came to a close
as far as Mukul Dey was concerned.
Postscript
| Many scholars believe that 1924 manuscript of "Purabi" contains
Tagore's first efforts of drawing. However, this can be contested,
chronologically. |
Many scholars believe that 1924 manuscript of "Purabi"
contains Tagore's first efforts of drawing. However, this can be
contested, chronologically. In the Foreword of the 1932 illustrated
catalogue Mukul Dey reports about a black leather-bound drawing
book of Tagore, which he received from the poet, as a gift, in April
1909 at Santiniketan. This drawing-book contained the earlier artistic
efforts of Rabindranath Tagore. If I am not wrong, about twelve
years ago (1987-88), I remember of having read in 'Desh'
(Ananda Bazaar Publications) that the same drawing-book now forms
part of a collection of Sri Indrakishore Kejriwal of Calcutta.
Lastly, a few words about the collection of source materials for
this article may not be out of place here. In 1943 Mukul Dey had
opted for a premature retirement from the services of Government
School of Art, Calcutta and had shifted his residence to Santiniketan.
There, in his residence all his papers used to lay scattered everywhere
in huge heaps and dumps. Dey, more-or-less, had lost interest in
them. Much were destroyed during the 1978 floods and by the voracious
appetite of the termites.
In 1983, for the first time, I had chanced upon a few torn pages
of Dey's 1917 diary (Aug. 23, 1917 to Dec. 13, 1917) in this abyss.
It contained most valuable information about the Tagores of Jorasanko,
Calcutta. I prepared a manuscript of this diary in 1983 itself.
Later on this manuscript was stolen from our family home in Santiniketan
by a noted scholar of Visva-Bharati and subsequently was published
in his daughter's name (vide 'Samatat', Calcutta, July -
Sept. 1995 issue). However, my interest in Dey's papers had continued,
and which is why I searched more and more, for important documents
till I could piece together this story.
— by Satyasri Ukil
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