History of 17th September – A Canvas of Discovery and Creativity
Discover the remarkable history of 17th September, a day marked by scientific breakthroughs and artistic brilliance. From Antonie van Leeuwenhoek’s discovery of bacteria to the artistic legacy of Gaganendranath Tagore and M.F. Husain, explore a history brimming with creativity and innovation.
Honestly, there are many days when, while penning down this series on history, I find myself in a rather dejected mood, weighed down by the endless tales of wars and conflicts. It’s enough to make one wonder why mankind insists on being so utterly senseless, forever at odds with each other. But today, as I delve into the history of 17th September, I find myself in a much more cheerful state. Why, you ask? Because History of 17th September seems to be a day brimming with positivity!
Take, for instance, the Dutch scientist Antonie van Leeuwenhoek, who, on this very day in 1683, reported the existence of bacteria for the first time. Now, that’s a discovery that’s no small potatoes! Who knows how many lives that little revelation has saved, from then right up to the present day?
Moreover, history of 17th September tells us that it was this day in the year 1789 that William Herschel discovered Mimas, one of Saturn’s moons. Quite a stellar find, wouldn’t you say?
Of course, there are other events in the history of 17th September which, frankly, I choose to overlook. Let’s leave the wars and squabbles out of it for once. As the great Pete Seeger so rightly said, “we are a rainbow race” and it’s “too soon to die.”
Now, my dear readers, I shall take you to the feature story from history of 17th September. In fact, not just one, but two splendid stories await you!
Honestly today’s episode should have been written by Siddharth Ghosh my artist friend whose articles you may have read time to time, because history of 17th September tells me that I am no fit as it is this day two iconic artists were born in our country namely Gaganendranath Tagore in the year 1867 and Maqbool Fida Husain in the year 1905. But unfortunately Siddhartha is occupied with some family urgency, so I take the liberty to write with my limited knowledge of arts.
The True Pioneer of Cubism in India: Gaganendranath Tagore
Gaganendranath Tagore, born on 17th September 1867, was not just another artist in a family brimming with cultural icons. He was a trailblazer in Indian art, a true pioneer of Cubism, and an acclaimed satirist who left an indelible mark on the art scene of early 20th-century Bengal. Alongside his illustrious uncle, Nobel laureate Rabindranath Tagore, and his brother Abanindranath Tagore, Gaganendranath played a key role in the cultural revival that swept across Bengal at the time. The brothers were instrumental in establishing the Indian Society of Oriental Art in Calcutta in 1907, a landmark in the history of Indian art.
Interestingly, Gaganendranath was a self-taught artist who picked up the brush rather late in life—at the age of thirty-eight, no less. He had the advantage of learning Japanese brushwork from visiting artists at Santiniketan, and his early works reflect a distinct blend of influences. Initially, his artistic journey began with paintings of Puri landscapes, portraits, and figurative sketches, and scenes of Calcutta. He also created illustrations for Rabindranath Tagore’s My Reminiscences, with notable works like Sibu Kirtania and Crows being amongst his earliest known pieces.
In 1914, Gaganendranath’s works gained international recognition when six of his paintings were sent to London and later displayed at the Pavilion Marson exhibition in Paris. It was after this that Cubism began to creep into his works, introducing a new, avant-garde style to Indian art that had rarely been seen before. His Cubist phase reflected a unique fusion of Western modernism with Indian sensibilities, a rare feat for an artist of his time.
From 1917 onwards, Gaganendranath also ventured into the world of satire, publishing portfolios of cartoons that took aim at contemporary Bengal society. Collections such as Birupa Bajra, Adbhut Lok, and Baba Hullod were merciless in their humour, skewering the foibles and follies of the day with wit as sharp as a tack.
It wasn’t just his artistic innovation that made him a force to be reckoned with; Gaganendranath was also the driving force behind the Vichitra Club, located at the Tagore residence. Ever the innovator, he even acquired a lithographic press for the club, further cementing its place as a hub for creative and intellectual exploration. He was no one-trick pony, either—over the course of his career, Gaganendranath dabbled in a range of styles, from watercolour landscapes to haunting nocturnal scenes, Bengal School washes, and Japanese brushwork. Whatever he touched, he mastered, and he did so with aplomb.
In 1923, Gaganendranath took his talents to Europe, holding exhibitions in Berlin and Hamburg that received high praise from German critics. His works were not just about form, but about feeling, too. He communicated his emotions through structural compositions and semi-abstraction, using form as a medium for expression rather than a mere technical skill.
After a rich and varied artistic career, Gaganendranath Tagore passed away on 14th February 1938, leaving behind a legacy that continues to inspire artists to this day. His contributions to Cubism and his satirical works remain a testament to his genius, and his role in shaping modern Indian art is second to none. In short, Gaganendranath was a one-off—an artist ahead of his time, who made sure to paint outside the lines, and in doing so, brought a world of colour and innovation to Indian art.
If ever there was a man who could turn the art world on its head, it was Gaganendranath Tagore, and he did so with a brush in one hand and a sharp wit in the other. Truly, a figure worth celebrating.
M.F. Husain: Master of Modern Indian Painting
Maqbool Fida Husain, known as M.F. Husain (1915-2011), was one of India’s most eminent artists. Born in Pandharpur, his early years were spent in Indore. Husain began his career as a painter of cinema hoardings after attending art school in Bombay (now Mumbai). Using freehand drawing and vibrant colour, he depicted Indian subject matter in the style of contemporary European art movements, particularly Cubism.
Indian Civilization is an ambitious series of eight triptych paintings, commissioned in 2008 by Mrs Usha Mittal as a tribute to the richness of India’s history. Each panel explores a different theme, together creating a personal vision of India, what Husain called ‘a museum without walls’.
Interweaving religious and symbolic iconography with historic figures and events, the paintings also incorporate memories from the artist’s own life. Originally envisaged as a series of 96 panels, Husain was still working on the paintings at the time of his death in 2011.
The Indian Civilization series
Husain marked the ceremonial beginning of his Indian Civilization series by painting the Hindu deity Ganesha. Known as the remover of obstacles, Ganesha is a patron of the arts and letters, worshipped at the beginning of any endeavour. He is represented as a four-armed man with an elephant head, shown here with an ancient terracotta goddess figure at his side.
Three Dynasties
Husain celebrates three ruling dynasties from India’s long and tumultuous history. He places the ancient Mauryan civilization centrally between two invading rulers, the Muslim Mughal dynasty (1525-1857) and the British Raj (1858-1947).
Language of Stone
‘How the language of stone surpasses the language of man.’ Husain uses the words of the poet Rabindranath Tagore to pay tribute to India’s great sculptural heritage. To him, they are a collection of ‘poems in stone’.
Traditional Indian Festivals
Husain captures the colour and spirit of Indian festivals. These ancient celebrations and rituals reflect the passing of time and show the enduring role of religion and tradition in Indian culture.
Indian Households
Husain reflects on the domestic lives of India’s citizens, showing the daily routines of three ordinary urban families. The major religions of India are represented, with three generations sharing their homes and their faith.
Modes of Transport
Husain presents the multiple journeys of India’s citizens as a metaphor for the journey of life. He captures the frenetic pace of everyday living and the disparities of the modern world.
Tale of Three Cities
Three of India’s great cities assume different symbolic meanings. Delhi represents India’s nationhood, Varanasi its spiritual centre and Kolkata its culture and activism.
Indian Dance forms
Husain captures the regional diversity of Indian dance forms, an integral part of high culture and festival ritual. Reflecting his love of both dance and the cinema, Husain explores how movement is captured on film.
Hindu Triad
Husain depicts the Trimurti, the three principle gods of the Hindu religion. Brahma is the creator of the universe, Vishnu its protector and preserver and Shiva is its destroyer.
Sources and Pictures for M F Hussain Story Victoria and Albert Museum United Kingdom
http://www.vam.ac.uk/content/exhibitions/mfhusain/about-the-exhibition/
What's Your Reaction?
