R. Siva Kumar

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R. Siva Kumar
Art Historian R. Siva Kumar.jpg
Siva Kumar lecturing at the opening of The Last Harvest : Paintings of Rabindranath Tagore, Museum of Asian Art, Berlin (2012).
Born (1956-12-03) 3 December 1956 (age 67)
Kerala, India
NationalityFlag of India.svg  Indian
Other namesRaman Siva Kumar
Education Kendriya Vidyalaya Pattom
Visva-Bharati University
Alma mater Kendriya Vidyalaya Pattom
Visva-Bharati University
Occupation(s) Art historian, art critic and curator; principal of Kala Bhavana
Notable work Rabindra Chitravali (2011), The Last Harvest : Paintings of Rabindranath Tagore (2012)
Movement Bengal school of art
Contextual Modernism
Spouse Mini Sivakumar
Children Siddharth Sivakumar (Son)

Raman Siva Kumar (born 3 December 1956), known as R. Siva Kumar, is an Indian contemporary art historian, art critic, and curator. His major research has been in the area of early Indian modernism with special focus on the Santiniketan School. He has written several important books, lectured widely on modern Indian art and contributed articles to prestigious international projects such as the Art Journal , [1] Grove Art Online or The Dictionary of Art , Oxford University Press. [2] [3] [4] [5]

Contents

He was awarded the Kesari puraskaram for art writing by the Lalit Kala Akademi, Kerala in 2010. [6] He has also curated major exhibitions like Santiniketan: The Making of a Contextual Modernism, and The Last Harvest : Paintings of Rabindranath Tagore and retrospectives of important Indian artists, such as Rabindranath Tagore, Benode Behari Mukherjee(co-curated with Ghulam Mohammed Sheikh), K. G. Subramanyan. He also has co-curated an exhibition titled "Tryst with Destiny" for the Singapore Art Museum to mark the 50 years of Indian Independence and served as a curatorial adviser for Rhythms of India: The Art of Nandalal Bose curated by Sonia Rhie Quintanilla for the San Diego Museum of Art.

Early life and education

R. Siva Kumar was born in Kerala. After completing his early education in Pune and Kerala he moved to Santiniketan, where he joined Kala Bhavan and completed his MFA in history of art.

Career

Since 1981, Professor Siva Kumar, who is often considered to be "the most erudite and self-effacing art historian" [7] of his time, has been teaching art history at Kala Bhavana, where he has held several offices, including that of the Principal. [8] His writings on Abanindranath Tagore and the Santiniketan artists have contributed a new perspective on them by shifting the critical focus from nationalist revivalism to a context sensitive modernism. Among his curated exhibitions Santiniketan: The Making of a Contextual Modernism commissioned to mark the fifty years of Indian independence, Benodebehari: A Centenary Retrospective (co-curated with Ghulam Mohammed Sheikh) and The Last Harvest : Paintings of Rabindranath Tagore commissioned to mark the 150th birth anniversary of Tagore are considered landmark exhibitions. The reputed Indian Magazine, Frontline reported, "The best show was the one (celebrating 50 years of Indian Independence) curated by R. Siva Kumar of Santiniketan, 'The Making of a Contextual Modernism', exhibiting about a hundred works each of Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee". [9] While The Last Harvest : Paintings of Rabindranath Tagore was shown at ten major museums of the world including the Museum of Asian Art, Berlin; Asia Society, New York; National Museum of Korea, Seoul; Victoria and Albert Museum, London; The Art Institute of Chicago, Chicago; Petit Palais, Paris; National Gallery of Modern Art, Rome; National Visual Arts Gallery, Kuala Lumpur; McMichael Canadian Art Collection, Ontario; and National Gallery of Modern Art, Delhi.

In a review of Rabindra Chitravali in The Statesman , German scholar Martin Kämpchen (de) writes, "It collects excellently faithful reproductions of Rabindranath's paintings in large format. The editor, Kala Bhavan's art historian, Prof R . Siva Kumar, has spent his entire working life researching the Bengal School of Art, especially the Santiniketan crop of painters. This is the crowning achievement in this hard-working and self-effacing scholar's career." [10]

For the Royal Asiatic Society, Cambridge Journals, W. Andrew Robinson wrote, "The unparalleled quality of the volumes' reproductions, made from new scans of the original works kept in Santiniketan, in New Delhi and elsewhere, and printed by India's leading art printer, Pragati Offset, based in Hyderabad, is thrillingly good. Rabindra Chitravali: Paintings of Rabindranath Tagore is surely one of the finest art books to have been produced in India. [11]

Closely associated with the critical traditions of the Santiniketan his writings on Abanindranath and the Santiniketan artists have been recognised as making an important contribution to the reassessment and critical reception of these artists. Reviewing his book Paintings of Abanindranath Tagore Tapati Guha Takurta wrote: ‘With this magnum opus on Abanindranath Tagore, Siva Kumar can be seen to have traversed full circle within this particular lineage of art practice and art writing in Bengal. An art historical journey that began with and has continuously returned to the work of K. G. Subramanyan, has tracked its course backwards in time to mark out its significant inheritance, not just of the Santiniketan masters (Nandalal Bose, Rabindranath Tagore, Benode Behari Mukherjee and Ramkinkar Baij), but also in the little-known oeuvre of the later Abanindranath.' [12]

In 2013 he was awarded by the Paschimbanga Bangla Akademi for his book Ram Kinkar Baij – A Retrospective.

R. Siva Kumar also received a special award from the University of Dhaka for his contribution to the Indian art scene. [13] [14]

Contextual Modernism

In Santiniketan: The Making of a Contextual Modernism Siva Kumar introduced the term Contextual Modernism which later emerged as a postcolonial critical tool in the understanding of Indian art, specifically the works of Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee. [15]

The brief survey of the individual works of the core Santiniketan artists and the thought perspectives they open up makes clear that though there were various contact points in the work they were not bound by a continuity of style but buy a community of ideas. Which they not only shared but also interpreted and carried forward. Thus they do not represent a school but a movement.

— Santiniketan: The Making of a Contextual Modernism, 1997

Several terms including Paul Gilroy’s counter culture of modernity and Tani Barlow's Colonial modernity have been used to describe the kind of alternative modernity that emerged in non-European contexts. Professor Gall argues that ‘Contextual Modernism’ is a more suited term because “the colonial in colonial modernity does not accommodate the refusal of many in colonized situations to internalize inferiority. Santiniketan’s artist teachers’ refusal of subordination incorporated a counter vision of modernity, which sought to correct the racial and cultural essentialism that drove and characterized imperial Western modernity and modernism. Those European modernities, projected through a triumphant British colonial power, provoked nationalist responses, equally problematic when they incorporated similar essentialisms.” [16]

Role in preventing Tagore fakes

R. Siva Kumar being interviewed by a journalist in Dhaka, 2013 R. Siva Kumar being interviewed by a journalist in Dhaka, 2013.jpg
R. Siva Kumar being interviewed by a journalist in Dhaka, 2013

R. Siva Kumar, being an authority on Tagore's paintings, curator of his largest Exhibition and the author/editor of the most comprehensive reference work on Rabindranath's paintings has played an important role in preventing Tagore-fakes.

In 2011 the Government College of Art and Craft in Kolkata, under principal Dipali Bhattacharya, had organised an exhibition of 23 Tagore paintings. And later 20 were found to be fake. Siva Kumar, who had already seen digital images of the paintings and, convinced that they were all fakes, had warned the college principal, Dipali Bhattacharya, against holding the exhibition. But Bhattacharya went ahead with the claim that the paintings were "genuine". [17]

“There’s a great market for Tagore's paintings and his works are of a rare kind. I had seen the reproductions and I knew they were fake. It's unfortunate because it completely destroys the oeuvre of the artist. But the problem of fakes is larger than what is made out of it." R. Siva kumar had revealed to the Indian Express. [18] According to Siva Kumar the fakes were "by an academically trained artist — not old Santiniketan. Elements have been taken from different prints and then collaged together...This (Tagore-faking) needs to be nipped in the bud. The other day, I came upon a notice about an exhibition of Nandalal (Bose) and Abanindranath (Tagore), the medium being acrylic and canvas. Acrylic paints were not invented then. They are totally uninformed. The art world should wake up if it wants credibility. Institutions should be more careful. They have a certain responsibility to their heritage and legacy. The academic part of it should be more professional." [19]

In 2014, Siva Kumar called for the formation of an investigation unit to track theft, copies and forgery of art. Times of India quoted him,"A national-level investigation agency should set up a team of specialists who follow only such cases so that they can see pattern or notice the involvement of same people or part of the same network. One can then consider putting an embargo on galleries and collectors whose names figure in such reports." He also urged that supportive legal measures should also be drafted. Explaining the rise in fakes originating from Bengal, he pointed to the revival of interest in art of early 20th century. "Bengal masters figured prominently in art history. Their works were few in circulation. Hence, when demand went up, it spawned fakes." [20]

Ramkinkar Baij

Ramkinkar Baij: A Retrospective, 1906-1980 is a book by R. Siva Kumar [21] that was brought out on the occasion of a massive retrospective exhibition of Ramkinkar Baij at the National Gallery of Modern Art.

The exhibition was curated by K.S. Radhakrishnan [22] and the book was brought out in collaboration with the Delhi Art Gallery. The book presents entire body of Ramkinkar's sketches, watercolours, etchings, oils and sculptures, together with many invaluable period photographs. This is considered to be the authoritative volume on the “prolific master”. [23]

Drawing distinction between Benode Behari Mukherjee and Ramkinkar Baij, Siva Kumar notes, "If his friend and colleague Binodebihari painted the starker side of Santiniketan landscape, and saw himself as a lonely palm tree in the middle of the barren and parched Khoai, Ramkinkar saw himself as the Palash in full bloom: No leaves, bare branches, fully ablaze". [24]

In 2013 R. Siva Kumar was granted an award by the Paschimbanga Bangla Akademi for this book.[ citation needed ]

Memberships and associations

Awards and recognitions

Curated exhibitions

Major publications

Selected articles

See also

Related Research Articles

<span class="mw-page-title-main">Shantiniketan</span> UNESCO heritage site in West Bengal, India

Shantiniketan is a neighbourhood of Bolpur town in the Bolpur subdivision of Birbhum district in West Bengal, India, approximately 152 km north of Kolkata. It was established by Maharshi Devendranath Tagore, and later expanded by his son, Rabindranath Tagore whose vision became what is now a university town with the creation of Visva-Bharati. It is also the birthplace of Amartya Sen, an Economist, Philosopher, & Nobel Laureate

<span class="mw-page-title-main">National Gallery of Modern Art</span> Modern art museum in Rajpath, New Delhi

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<span class="mw-page-title-main">Bengal School of Art</span> Art movement and a style of Indian painting in the early 20th century

The Bengal School of Art, commonly referred as Bengal School, was an art movement and a style of Indian painting that originated in Bengal, primarily Calcutta and Shantiniketan, and flourished throughout the Indian subcontinent, during the British Raj in the early 20th century. Also known as 'Indian style of painting' in its early days, it was associated with Indian nationalism (swadeshi) and led by Abanindranath Tagore (1871–1951), and was also being promoted and supported by British arts administrators like E. B. Havell, the principal of the Government College of Art and Craft, Kolkata from 1896; eventually it led to the development of the modern Indian painting.

<span class="mw-page-title-main">Abanindranath Tagore</span> Indian painter and writer (1871–1951)

Abanindranath Tagore was the principal artist and creator of the "Indian Society of Oriental Art". He was also the first major exponent of Swadeshi values in Indian art. He founded the influential Bengal school of art, which led to the development of modern Indian painting. He was also a noted writer, particularly for children. Popularly known as 'Aban Thakur', his books Rajkahini, Buro Angla, Nalak, and Khirer Putul were landmarks in Bengali language children's literature and art.

<span class="mw-page-title-main">Nandalal Bose</span> Indian artist and a pioneer of modern Indian art (1882-1966)

Nandalal Bose was one of the pioneers of modern Indian art and a key figure of Contextual Modernism.

<span class="mw-page-title-main">Benode Behari Mukherjee</span> Indian artist

Benode Behari Mukherjee was an Indian artist from West Bengal state. Mukherjee was one of the pioneers of Indian modern art and a key figure of Contextual Modernism. He was one of the earliest artists in modern India to take up to murals as a mode of artistic expression. All his murals depict a subtle understanding of environmental through pioneering architectural nuances.

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<span class="mw-page-title-main">Modern Indian painting</span> Movement in Indian painting

The modern Indian art movement in Indian painting is considered to have begun in Calcutta in the late nineteenth century. The old traditions of painting had more or less died out in Bengal and new schools of art were started by the British. Initially, protagonists of Indian art such as Raja Ravi Varma drew on Western traditions and techniques including oil paint and easel painting. A reaction to the Western influence led to a revival in primitivism, called as the Bengal school of art, which drew from the rich cultural heritage of India. It was succeeded by the Santiniketan school, led by Rabindranath Tagore's harking back to idyllic rural folk and rural life. Despite its country-wide influence in the early years, the importance of the school declined by the 'forties' and now it is as good as dead.

<i>Rabindra Chitravali</i> 2011 book series containing paintings of Rabindranth Tagore

Rabindra Chitravali is a 2011 four-volume set of books by art historian R. Siva Kumar that contains paintings of Rabindranth Tagore. These include about 1700 paintings in the Rabindra Bhavana and Kala Bhavana collections of Visva-Bharati, Santiniketan; and more than 300 paintings in the collection of the National Gallery of Modern Art and the collections at Rabindra Bharati University, Kolkata; National Gallery of Modern Art, New Delhi and Bangalore; and Indian Museum, Kolkata.

<span class="mw-page-title-main">Kala Bhavana</span> Fine arts school of Visva-Bharati University

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<i>Paintings of Abanindranath Tagore</i> Book by R. Siva Kumar

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References

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  56. ↑ Choudhury, Sarbari Roy (2009). Sensibility Objectified: The Sculptures of Sarbari Roy Choudhury – Sarbari Roy Choudhury, R. Siva Kumar – Google Books. Akar Prakar. ISBN   9788189995270 . Retrieved 9 January 2014.
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  63. ↑ Siva Kumar (2011). The Last Harvest: Paintings of Rabindranath Tagore. Mapin Publishing Gp Pty Ltd. ISBN   9788189995614.
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