The changing palette in Bengal Post 1960s

Jogen Chowdhury’s images emerged out of his memories of East Bengal–the land he had left behind and his nostalgia fond expression in the symbolic form of dream and fantasy. Ganesh Pyne’s world of private fantasies was completely different where mysterious shadows balanced by ethereal light re-invoked a continuity with the Bengal school though in a distinctly different context. Bikash Bhattacharya’s Doll series was representative of a nuanced and silent protest against the silencing culture of the political elite and the defiance found expression through the paintings. Conventionally the series has been viewed in the context of the Naxaliteexperience, and the dolls were painted as a primary object of meditation against the uncanny loneliness of the vacant city.