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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.
| Precisely, why Tagore expected to sell his paintings to an
apparently unappreciative and dull audience is beyond my personal
comprehension! |
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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