New Delhi, June 14: In the art world, some names have not only created masterpieces but also shaped the very fabric of time. One such name is Devi Prasad Roy Chowdhury, a renowned painter and sculptor honored with the Padma Bhushan. Born on June 15, 1899, in Tajhat, Bengal (now Bangladesh), his artistic journey was anything but straightforward. This is the story of an artist who initially faced rejection from his own artistic community.
During the emergence of the Bengal School as a new movement in Indian art, it was often criticized for being unwelcoming to artists from outside its circle. In this environment, the young and multi-talented Devi Prasad Roy Chowdhury also encountered harsh rejection. It is said that when he presented his artworks to the great artist Abanindranath Tagore, he was dismissed with the remark that his works held no value and that he should learn art by imitating traditional Bengali paintings.
This comment shook him profoundly. Ironically, the Bengal School that initially rejected him later embraced him as part of its tradition. However, he was not one to remain stagnant. He was experimental, visionary, and had the courage to carve his own path. He studied painting under Abanindranath Tagore, learned the intricacies of life drawing and portraiture from E. Boyce (Signor Bores), and received training in sculpture from Hiranyamoy Roy Chowdhury. He later pursued further training in Italy.
Fluent in color and clay, plaster and bronze, Roy Chowdhury exhibited remarkable proficiency in every medium. His paintings showcased a stunning blend of Chinese techniques, Japanese wash processes, and his unique scratching method. While his early works bore the influence of Abanindranath Tagore, he gradually forged his own identity. His artistic life was also filled with struggles. Due to prolonged unemployment, he took on work in stage decoration, curtains, and backdrops.
In Kolkata, he advanced this craft linked to the tradition of Master Hussain Bakhsh Lahori in Mumbai, as his hometown was not prepared to offer him the support he needed. Art critic Dr. Karl Khandalawala attempted to limit him by labeling him a decorative artist. However, his paintings and portraits revealed a remarkable world of human emotions. Particularly in his depictions of women, there is a sense of tenderness and intimacy.
It is said that his female portraits echo the image of the wife and love that stood by him during years of struggle. Conversely, his male figures appear solitary, strong, and filled with aggressive energy. His artistic universe is characterized by drama, movement, and the pulse of life. Although he began with painting, he gained recognition through his monumental public sculptures. Influenced by the works of French sculptor Auguste Rodin, Roy Chowdhury mastered the art of capturing human movement and emotions in three dimensions. His sculptures convey a deep sense of realism, labor, pain, and human struggle.
He preferred to make ordinary people on the streets the subjects of his art. This is why his sculptures reflect the vibrancy of common individuals. His creations are not merely crafts but documents of society’s heartbeat. Notable public works include the ‘Dandi March’ in New Delhi, the famous ‘Triumph of Labor’ statue in Chennai, the ‘Shaheed Smarak’ in Patna, a bronze statue of the last ruler of Travancore, Chithira Thirunal Balarama Varma in Thiruvananthapuram, and a life-sized statue of the Maharaja in Jaipur.
Roy Chowdhury was not just an artist; he was also an educator and institution builder. He taught at the Indian Society of Oriental Art in Calcutta. In 1928, he joined the Madras College of Art and later became its principal. From 1929 to 1958, he served as the principal and head of the sculpture department at the Government School of Arts and Crafts in Madras. Under his leadership, art education in South India received a new direction.
His artistic endeavors were recognized with numerous honors over time. In 1937, the British government awarded him the title of Most Exalted Member of the British Empire (M.B.E.). In 1953, he was appointed the founding president of the Lalit Kala Akademi in New Delhi. In 1958, the Government of India honored him with the prestigious Padma Bhushan. Later, he was also awarded an honorary doctorate by Rabindra Bharati University and became an elected fellow of the Lalit Kala Akademi.
Devi Prasad Roy Chowdhury passed away on October 15, 1975, but his art remains alive. Once dismissed as ‘worthless,’ this artist carved a place in the sky of Indian art, inspiring future generations with his sculptures.
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