Project on

A Study of Female Printmaker Artist of Assam: Manika Devi

(A Report submitted in partial fulfilment of the requirements for the degree of

Bachelor of Design)

Submitted by:
Kaushik Kashyap Das
B.Des, 1st Semester
Specilization: Painting
Registration No:1180365
Roll No: 182071003
Royal School of Design
The Assam Royal Global University

Academic Project Guide:

Mr. Sumanta Dutta Chowdhury
Faculty of Painting
Royal School of Fine Arts
The Assam Royal Global University

The Assam Royal Global University,

Guwahati
 DECLARATION

I, Aditya Deb Nath, bearing Roll no 182071003, a student from Bachelor of Fine Arts
(Painting) under Royal School of Fine Arts, hereby declare that this Final (8th Sem)
Semester Project. Entitled “A Study of Female Printmaker Artist of Assam: Manika
Devi” is a bona fide project undertaken by me. During February to June 2022, as
partial fulfillment of the requirements of the degree of Bachelor of Fine Arts of The
Assam Royal Global University, Guwahati.

Further, I declare that this report has not been submitted by me elsewhere for the award
of any degree certificate and is not linked to any other qualification.

Date:

Place: Guwahati, Assam Aditya Deb Nath

BFA, 8th Semester

Specilization: Painting
Registration No:1180365
Roll No: 182071003
Royal School of Fine Arts
The Assam Royal Global University, Guwahati

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 Royal School of Fine Arts

CERTIFICATE

This is to certify that Aditya Deb Nath student of BFA 8th Semester from Royal School
of Fine Arts with specialization in painting, has completed his research project titled
“A study of female Printmaking Artist from Assam: Manika Devi” under my
supervision He consulted the relevant sources, materials and he has done himself the
fieldwork to collect data from this research project.

It is hereby recommended that Aditya Deb Nath may be allowed to submit the research
project to The Assam Royal Global University for the Examination.

Date:

Place: Guwahati,

Sumanta Dutta Chowdhury

Faculty of Painting
Royal School of Fine Arts
The Assam Royal Global University

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 ACKNOWLEDGEMENT

I convey my special thanks to Mr. Sumanta Dutta Chowdhury as supervise my project

work. He had provided extensive guidance, encouragement, and advice throughout
my project work. My special thanks also go to my Faculty Guide for his kind support
for the successful completion of my project.
I would simultaneously like to thank to Dr. Mousumi Deka Coordinator of Royal
School of Fine Arts and Mr. Kishan Bagdi Faculty of Sculpture, for their support and
guidance at The Assam Royal Global University during my project work.
I take the opportunity to express my sincere gratitude to artist Manika Devi as
resource person throughout my research project. I would also thank all those who
supported me throughout this project work. I am thankful for their aspiring guidance,
invaluably constructive criticism and friendly advice during the project work.

Thank You

Aditya Deb Nath

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 Abstract

Printmaking is a versatile art form, it’s a process to make images and developing a
visual idea through pictorial representation. Artists have been practicing this art form
way back in history they have a huge contribution to this medium of art. This research
has explored the historical evaluation of printmaking and the artist of different
periods and regions. It’s to analysis and study the artworks of female contemporary
Printmaking artists from India as well as to study the theme, color, composition, and
subject matter of renowned female artists of Assam Manika Devi.

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Contents
Declaration ----------------------------------------------------------------------------------- I
Certificate ------------------------------------------------------------------------------------ II
Acknowledgment ---------------------------------------------------------------------------- III
Abstract -------------------------------------------------------------------------------------- IV
List of plates --------------------------------------------------------------------------------- V

Chapter I
Introduction …………………………………………………………….1
1.1 Framework of the Study
1.2 Statement of the Problem
1.3 Tentative Chaptersation
1.4 Objectives
1.5Data and Methodology
1.6 Review of Literature
List of plates
Chapter II
Background Study on Printmaking: Western Art
2.1 Background Study on Printmakers of Europe: Albrecht Durer to Picasso
2.2 Background Study on European artworks of 17th-18th century: Female
Printmakers
List of plates

Chapter III
Background Study on Printmaking: Indian Art
3.1 Background Study on Indian Printmakers: Raja Ravi Verma to Krishna Reddy
3.2 Background Study on Female Indian Printmakers: Anupam Sud to Kavita Nayar
List of plates

Chapter IV
Background Study on Printmakers: Contemporary Artists of Assam
4.1 A Study an Artistic process on Printmaking of Assam: Artists of 20th Century
4.2 A Study on Conceptual Printmaking Artworks of Assam: Manika Devi

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List of plates

Chapter V
5.1 Summary of Conclusion
5.2 Finding of the Research
5.3 Further Scope of Study
5.4 Concluding Notes

Bibliography

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 List of Plates

Plates of Chapter I

Plate I
Katsushika Hokusai, The Great Wave of Kanagawa,1831
Woodblock print
Source: The Metropolitan Museum

Plates of Chapter II

Plate I
Albrecht Durer Adam and Evel, 1504
Engraving
Source: The Metropolitan Museum

Plate II

Rembrandt van Rijn, Leaning on a Stone Sill, 1639

Etching and Drypoint
Source: The Metropolitan Museum

Plate III

Franciso de Goya, The Bogeyman is coming, 1797-1799

Etching and aquatint
Source: The Metropolitan Museum

Plate IV

Honore Daumier, The Freedom of the press: Do not Meddle with it, 1834
Lithograph on wove
Source: The Metropolitan Museum

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Plate V

Pablo Picasso, The Frugal Repast, 1904

Etching
Source: Art Institute of Chicago

Plate VI

Geertruydt Roghman, A Woman Cooking, Plate 3 from Five Feminine

Occupations, 1640 -1657
Engraving
Source: The Metropolitan Museum

Plate VII

Angelica Kauffman Woman resting her head on a Book, 1770

Etching
Source: Royal Academicians

Plates of Chapter – III

Plate I

Raja Ravi Verma, Laxshmi,

Oleograph
Source: The Antique Story

Plate II

Somnath Hore, Tebhaga Movement-At the Night Meeting, 1995

Woodcut
Source: The wire
Plate III

Krishna Reddy, Whirlpool, 1963

Intaglio
Source: Story Ltd

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Plate IV

Anupam Sud, Dialogue VIII, 1992

Intaglio
Source: adwinsart.com

Plate V

Kavita Nayar, Seed, 2010

Etching
Source: Kavitanayar.com

Plate of Chapter IV

Plate I

Manika Devi, Alone I, 1997

Etching
Source; Private

Plate II

Manika Devi, Alone II, 1997

Lino print
Source; Private

Plate III

Manika Devi, Friendship of nature, 1999

Lino print

Source: Private

Plate IV

Manika Devi, Where is my landing place, 2001

Multi-plated Etching

Plate V

Manika Devi, Searching Space, 2013

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Lino

Source: Private

Plate VI

Manika Devi, In Confidence, 2012

Etching
Source: Private

Plate VII

Manika Devi, Journey with the red, 2019

Woodcut
Source: Private

Plate VIII
Manika Devi, Amalgamation, 2020
Serigraphy
Source: Private

Plate XI
Rene Magritte, The Poetic World II, 1939
Oil on Canvas
Source: arthive.com
Plate X
Manika Devi, Anubhuti, 2002
Engraving
Source: Private

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 Chapter - I
Introduction

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 Chapter I
Introduction

1.1 Framework of the Study

Printmaking is a unique form of art which is also known as graphics, it’s a process to
create images through pictorial representation. In this form of art, there are a lot of
other different techniques, processes, and mediums to create an image by the
impression produced from a block, plate, stone, or any other surface on which artists
have worked. The woodcut is the oldest method of printmaking According to the
historical evaluation and the history of printmaking, it began in China’s Han Dynasty
dating from 206 BC to 220 AD. The first print on paper was made during the seventh
century1. Although certain artifacts dating from the sixth or seventh centuries BC have
been uncovered in Egypt. Johannes Gutenberg is the craftsman and the inventor of the
first printing press. From his press One of the first and most well-known books in the
history of the Western world is known as the Gutenberg Bible2.

In Europe, Woodcut prints were employed to produce paper playing cards in

Germany in the early 15th century, soon the technique was passed down to Artists.
The most recognizable was Albrecht Durer from the Renaissance period also there are
few female artists from the seventeenth period who have practiced the etching process
of print. Later, the prints of Katsushika Hokusai have created a huge impact on Art in

1
. TRIBECA PRINTWORKS. Accessed April 5, 2022.
https://www.tribecaprintworks.com/history-of-
printmaking/#:~:text=The%20history%20of%20printmaking%20began,wooden%20bo
ard%20as%20the%20matrix
2. Mary Bellis. Accessed. June,26,2022 https://www.thoughtco.com/johannes-
gutenberg-and-the-printing-press-1991865

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the west. ‘The great wave of Kanagawa’ [Plate I] woodblock print. It is essential to
understand a traditional form of art in Japan “Uukio-e, a woodblock print that
flourished from the 17th through 19th century and significantly influenced
Impressionist artists like Cloud Monet, Edgar Degas Edouard Manet as well as Van
Gogh. They showed western artists how their art could be done completely new.

In India, the first printing press was established in goa around 1556 by
Christian missionaries They were the first in India to begin printing on paper to
propagate Christian beliefs. As a result, they printed their first edition after importing
printing machinery and moveable types from Lisbon. book within the same calendar
year. However, it was discovered that the use of woodblocks had been common in
India since ancient times and that they were employed as state stamps. At the
beginning of 20th-century printmaking in India use as a creative medium as life
become more structured and settled people became interested in collecting pictures,
therefore, professional artists and engravers began to come to India from 1760
onwards. mostly British artists work in the main hub of India like Calcutta and Madras
between 1767 to 1820. Later period Artists like Somnath Hore, Krishna Reddy,
Laxman Goud, and many more other artists have a huge contribution to developing
the printmaking art form in India.

In chapter one, Historical evaluation and innovation of printmaking have been

discussed. It also contains tentative chaptalization, objectives, data, and methodology
and a review of literature. Chapter two explains about the Art and artworks of
European artist. Chapter three discussed the art and artworks of Indian printmaker.
Chapter Four the first part is discussed the printing history of Assam and the second
part is about the art and artworks of Manika Devi. The last chapter contains the
summary of all the four chapters, findings and research, further scope of study and
concluding note.

1.2 Statement of Problem

1. What is the theme and subject matter of Manika’s printmaking artworks.

2. Is there any resemblance of artworks other artists in Manika’s artworks?

1.3 Tentative Chapters

CHAPTER I- Inroduction
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 CHAPTER II- Background study on Printmaking: Western Art

CHAPTER III- Background study on Printmaking Art: Indian Art

CHAPTER IV- Background study on Printmakers: Contemporary Artist of Assam

1.4 Objectives

The Objectives taken are as follows-

1. To study the Historical evaluation of printmaking art, especially Western, Indian, and
Assam (India)
2. To study the one female Printmaking artist of Assam known as Manika Devi.

1.5 Data and Methodology

The report consists of various information on the History of Printmaking art and also
many famous artists and their work as they played a major role to develop and
introduce many techniques of printmaking art worldwide. Most of the data and
information have been collected from books, eBooks, websites, journals, articles,
newspapers, and interviews.

1.6 Review of Literature

1. Penelope J. E. Davies, (2011)3: The book gives the knowledge of the historical
background of every art movements and time period of art. The information written on
the artist and their works. It is has provided material about the famous Northern
Renaissance artist Albrecht Durer with Durer artworks.Durer adopted ideal of the artist
as gentleman and humanistic scholar and took the Italian View that the fine arts belong
among the liberal arts. Durer took the legacy of Jan Van Yack and Rogier van der.

3. Penelope J. E. Davies, Walter B. Denny, Frima Fox Hofrichter, Joseph Jacobs, Ann
M. Roberts, David L. Simon. 2011. ‘Janson’s History of Art: The Western Tradition’
Eighth edition (London: Laurence King Publishing Ltd.2011)

4|Page
2. Strauss, Walter L, (1972)4: This book contains a lifelong journey of Albrecht Durer,
his works, and his inspirations. it considers the contribution of Durer to develop
printmaking in Europe as a pioneer artist. This book contains a brief history and the
timeline of Durer’s works and Analysis. The art work Adam and Eve has conscious
application for the first time of a set of rules of proportion explains why these figures
have rigid pose, contradictory to the essence of Duer’s concept of nature.
3. Adams (2011)5: The book gives the timeline of every Art movement from Prehistoric
to Modern Art. There are several information and analysis of artists and their works.
The Subject matter of Rembrandt artworks includes Biblical mythological scenes
landscapes and portraits like Caravaggio.
4. Mago (2001)6: It has an enormous collection of Indian artists and their works which
fulfilled the requirements for the data to be collected for this research paper. This book
contains information about the artist and their artworks like, Raja Ravi Verma,
Krishna Reddy, and Anupam Sud. Reddy’s colour scheme are unique with their
specials scent and flavour.
5. Jhaveri (2005)7: The book cover almost all of the Indian artist. It mentioned few
information about the artist with their works and their concept and style of work.
Through this book it is found how Krishna Ready uses themes and object in making
intaglio prints. Somnath Hore’s themes reminded narrative and replaced by symbol
and metaphor. The figures become flat, like silhouettes, and are practically shorn of
any makers of identity: bodies and limbs echo elements of nature.

4. Strauss, walter L., ed. 1972. The complete endgraving, etching and drypoints of
alberecht durer. New york: Dover Publications.
5.Laurie Schneider Adams.2011 ‘A History of Western Art’ Fifth Edition (New York,
McGraw-Hill)
6.Pran Nath Mago,2001 ‘Contemporary Art in India – A perspective’ First edition
(National Book Trust, India, New Delhi-110070)
7. Amrita Jhaveri,2005 ‘A Guide to 101 Modern & Contemporary Indian Artists’
(Indian Book House Pvt Ltd Mahalaxmi Chambers Bhulabhai Desai Road, Mumbai)

5|Page
6. Faerna (1995)8: This book contains information about the artworks of Rene Magritte.
It also explains and analyses the subject matter of Magritte which is the use of a new
methodology, a Conceptual game, in the artworks.
7. Das (2020)9: This article contains a brief history of printmaking art in Assam. It also
gives information and knowledge about the artist. It was found that the printing in
Assam started in nineteenth century.

8. Jose Maria Faerna , ‘Magritte’, Harry N. Abrams, INC

9. Hemanta Das Accessed April,9, 20022 www.joics.com

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 Plate I
Katsushika Hokusai, The great wave of Kanagawa, 1831
Woodblock print, 25.7cm x 37.9cm
Source: The Metropolitan Museum

7|Page
 Chapter – II

Background Study on
Printmaking: Western Art

8|Page
 Chapter II

Background Study on Printmaking: Western Art

2.1 Background Study on Printmakers of Europe: Albrecht Durer to

Picasso

The printmaking art form in Europe started in the 15th century when it was used to
make paper playing cards in Germany.10 The technique was later passed down to the
artists. As the practice evolved artists began to create designs with architecture and
landscapes, in the background intaglio prints and metal engraving which was arrived
a few decades later and became a popular printmaking technique. The most significant
contribution to printmaking in the 15th century was Johannes Gutenberg’s printing
press which revolutionized art forms.

Albrecht Durer the sixteenth-century northern Europe printmaker from

Renaissance has been taught to draw and create designs for objects. In 1486 he has
convinced his father to allow him to switch to a different profession and was sent to
Michael Wolgemut’s studio, the most successful painter in Nuremberg. He studied
painting, drawings, and printmaking before leaving Nuremberg and traveling to
northern Europe. He spends four years as a journeyman, seeking to expand his
knowledge and skill with an established artist in various towns. His painting
techniques owe much to the Flemish master, but making copies of Italian works taught
him many of the lessons of the Italian renaissance11

10. TRIBECA PRINTWORKS. Accessed April 5, 2022.

https://www.tribecaprintworks.com/history-of-
printmaking/#:~:text=The%20history%20of%20printmaking%20began,wooden%20bo
ard%20as%20the%20matrix.
11. Penelope J. E. Davies, Walter B. Denny, Frima Fox Hofrichter, Joseph Jacobs, Ann
M. Roberts, David L. Simon. 2011. ‘Jansons History of Art The Western Tradition’
Eighth (London: Laurence King Publishing Ltd.2011)

9|Page
 As the greatest printmaker, he has a wide influence on sixteenth-century art
through his engraving which is circulated all over Europe. His works have made him
a famous, wealthy, and widely appreciated artist during this period. He was also very
interested in the nude which predated his first trip to Italy, also the works of classical
art and the Italian renaissance intensified his quest to make a perfect representation of
the human body. In his engraving of Adam and Eve [Plate I] a portrayal of the biblical
couple before the moment they eat the forbidden fruit apple offered by the serpent
only to be expelled from the garden of Eden, he was a master of engraving technique
which demonstrate his unparalleled ability to depict light and shade with various
surfaces and texture. when Durer returned from his journey his works became spares,
restricted mostly to portrait commissions and the printed memorial portrait of friends.
12

Rembrandt Van Rijn was well known for his portraits and etchings and was a
successful painter of the seventeenth-century art movement Baroque. ‘Leaning on a
Stone Sill’ [Plate II] is a self-portrait of Rembrandt done with Etching and Drypoint.
Later he moved to Amsterdam13 he also run his own commercial enterprise. He was a
master at manipulating light and dark as he was well suited for the etching medium.
Although etching have been invented in the sixteenth century, it was Rembrandt who
14
perfected the technique during the seventeenth century. As a result, Rembrandt's
fame as an etcher was greater than his fame as a painter during his lifetime. He was
the acknowledged master of the medium, transforming it into a wondrously versatile
instrument of his art. Biblical themes, genre, landscapes, portraits, and nudity were all
suitable for etching.15

Francisco De Goya Y Lucientes was the leading painter and printmaker of the late
eighteenth century and early nineteenth century and was attracted by several Romantic

12. Edited by Walter L. Strauss 1972, ‘The complete Engravings, Etchings and
Drypoints of Albrecht Durer’ (Dover Publications. Inc. New york
13. Laurie Schneider Adams.2011 ‘A History of Western Art’ Fifth Edition (New York,
McGraw-Hill) 353
14. Laurie Schneider Adams.2011 ‘A History of Western Art’ Fifth Edition (New York,
McGraw-Hill) 355
15. http://www.rembrandtpainting.net/about_rembrandt's_etchings.htm

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 themes.16 Goya’s themes are mostly dark and violent for example his etching work
‘The bogeyman is coming’[Plate III] where he illustrates the fear of childhood and the
myth that the parents give during night-time.

Honore Daumier is an artist of nineteenth-century realism. He was a painter,

printmaker, and caricature artist. His works are directly related to social injustice17,
corruption, Satire, and politics, like the work ‘The Freedom of the Press: Don’t
Meddle with it’ [Plate IV] Lithograph which appeared in La Caricature a daily paper
started in 1832. Through this work, he shows the reality of corrupted politicians and
the king himself.

Pablo Picasso was not only a painter and sculptor but also a well-known printmaker
of the 20th century. He created prints in various mediums like lithographs, etching,
drypoints, linocuts, and woodcuts, he is well-known for his experimental works and
innovations, and his first prints were of 15 drypoints mostly created after World war-
II. ‘The Frugal Repast’ [Plate V] Pablo Picasso created around 200 lithographs from
1945 to 1949 with a professional printmaker from Mourlot studio18.

2.2 Background Study on European artworks of 17th-18thcentury:

Female Printmakers

Geertruydt Roghman was one of the few seventeenth-century Dutch artists who
specialized in depicting everyday women. ‘A Woman Cooking, Plate 3 from Five
Feminine Occupations’ [Plate V] is an engraving print where she depicts a woman
doing her daily chores. She is a very skilled printmaker and her themes are all about
ordinary life tasks like weaving, cleaning, and woman’s experiences19. When they

16. Laurie Schneider Adams.2011 ‘A History of Western Art’ Fifth Edition (New York,
McGraw-Hill) 407 (Devi 2022)
17. Laurie Schneider Adams.2011 ‘A History of Western Art’ Fifth Edition (New York,
McGraw-Hill) 418
18. MERRITT GALLERY. Accessed June 24, 2022 (Merritt Gallery 2013)
19. Thoughtco Accessed June,26,2022 https://www.thoughtco.com/women-artists-of-
the-seventeenth-century

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 were in their early 20s, she worked alongside her brother Roelant to create fourteen
landscape etchings in response to his sketches. The five feminine vocations series by
Roghman, which features images of women working at various jobs, is her most
famous work. The works present real-life as realistic rather than moralizing or erotic
allegories, as was typical of genre representations at the time20.

Angelica Kauffman faced a difficult path to free herself as a woman artist in the
18th century but she had a significant impact on the 18th-century London art scene,
becoming one of the Royal Academy's only two female Founder Members. Kauffman
made 41 etchings between 1762 and 1779. ‘Woman resting her head on a book’ [Plate
VI] a print made by Kauffman which bears some resemblance depiction of herself
probably a self-portrait is an etching print she has done. later she sold the plates to the
publisher J. Boydell when she left London, who had them reworked and reissued. John
P. Thompson, the publisher, offered weaker prints from the worn plates in 180421.

20. Fine arts Museum of San Francisco, Accessed June 25, 2022
https://art.famsf.org/geertruydt-roghman
21. Bettina Baumgarten, Angelika Kauffmann Research Project Accessed June
24,2022, https://www.angelika-kauffmann.de/en/etchings/

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 Plate I
Albrecht Durer, Adam and Eve, 1504
Engraving, 25.1x20cm
Source: The Metropolitan Museum

Plate II
Rembrandt van Rijn, Leaning on a stone still, 1639
Etching, drypoint and burin, 21.1x16.8cm
Source: The Metropolitan Museum

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 Plate III
Francisco de Goya, Here comes the Bogey-man, 1797-1799
Etching, burnished aquatint, 29.5x21cm
Source: The Metropolitan Museum

Plate IV
Honore Daumier, The Freedom of the press: Do not Meddle with it, 1834
Lithograph on wove Paper, 30.7x43.1cm
Source: The Metropolitan Museum

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 Plate V
Pablo Picasso, The Frugal Repast, 1904
Etching, 46.4x37.8cm
Source: Art Institute of Chicago

Plate VI
Greertruydt Roghman, A woman Cooking, Plate 3 from Five Feminine
occupations
Engraving, 29x21cm
Source: The Metropolitan Museum

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 Plate VII
Angelica Kauffman, Woman resting her head on her book, 1770
Etching,180mmx145mm
Source: Royal Academicians

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 Chapter III

Background Study on
Printmaking: Indian Art

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 Chapter III

Background Study on Printmaking: Indian Art

3.1 Background Study on Indian Printmakers: Raja Ravi Verma to

Krishna Reddy

Raja Ravi Verma’s oeuvre included a large body of western-style and Indian-themed
paintings, drawings, watercolors, and oleographs22. He democratized access to
religious imagery across class and caste through affordable art prints or oleographs,
many of these oleographs were produced by his printing press, the Ravi Varma Press,
which he established in Ghatkopar, Mumbai, in 1894.23 His subject and themes are all
related to the god and goddess of Hindu mythology and as well as scenes and stories
from the Mahabharata, Ramayana, and Puranas. ‘Lakshmi’[Plate I]. To develop
dexterity in imitating objects, Ravi Verma adhered to the technique of the British
academic traditions that had previously been introduced to India24. He also studied the
style and works associated with the Tanjore school's traditions. He was also influenced
by many artists from western-like Raphael, Vermeer, David, Ingres, and Manet as he
was the first to do oil painting in India.

Somenath Hore experimented with various mediums like woodcut, Linocut, and
wood engraving. His subject is mostly related to wounds and human suffering and
also takes subjects from everyday life such as tea stalls. ‘Tebhaga Movement-At the
Night Meeting, 1955’ [Plate II] Through the 1960s, the composition of Somnath Hore

22. Pran Nath Mago,2001 ‘Contemporary Art in India – A perspective’ First edition
(National Book Trust, India, New Delhi-110070)
23. Artisera. Accessed June 23, 2022, https://www.artisera.com/collections/oleographs
24. Pran Nath Mago,2001 ‘Contemporary Art in India – A perspective’ First edition
(National Book Trust, India, New Delhi-110070)

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 became simpler, and his themes remained consistent, but the narrative was replaced
by symbolism and metaphor.25

Krishna Reddy’s prints are all about the observations of nature. He is a pioneer
printmaker of India as he offers a study of Fascinating technical innovations that have
largely contributed to the field of contemporary printmaking. He demonstrates a
unique process of multi-color plated print. ‘Whirlpool’ [Plate III] His prints are bold
and powerful and some are subtle and translucent. His designs or patterns vary from
strong geometric structures to fluid and organic forms in composition are amplified
resonances, expanding and contracting vibrations of a strange metaphysical space
illuminated by unusual colors and light sparkles26. His color schemes are unique and
harmonious and he uses a set of complementary colors and tonal values27.

3.2 The Background Study on Female Indian Printmakers: Anupam

Sud to Kavita Nayar

Anupam Sud Her contribution to the development of printmaking in India has been
recognized. She is considered one of the most significant and pioneering artists in
India. Her works have been featured in solo and group exhibitions in several places
national and international.28Although the artist feels that her work contains enough
ambiguity and openness to allow viewers to develop their conclusions, her particular
style is generally described as narrative, like other women printmakers of her period,
did not seek to be solely aesthetic in her work, preferring instead to highlight
interpersonal and social challenges that the newly formed urban India confronted.
Sud's work explores sexuality and identities using diverse intaglio etching techniques,
particularly the non-verbal interrelationships between the sexes, and also strengthens

25. Amrita Jhaveri,2005 ‘A Guide to 101 Modern & Contemporary Indian Artists
(Indian Book House Pvt Ltd Mahalaxmi Chambers Bhulabhai Desai Road, Mumbai)
Page no -
26. Pran Nath Mago,2001 ‘Contemporary Art in India – A perspective’ First edition
(National Book Trust, India, New Delhi-110070)
27. Pran Nath Mago,2001 ‘Contemporary Art in India – A perspective’ First edition
(National Book Trust, India, New Delhi-110070)
28. DAG Accessed May, 15,2022 https://dagworld.com/artists/anupam-sud/

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 her humanistic over feminist leanings by reflecting on the nature of humanity in all its
form. Her figures are shrouded in mystery. With bare bodies shaved heads and nude
like ‘dialogue VIII’ [Plate IV]

Kavita Nayar An innovative printmaker from Amritsar, Punjab studied at

Santiniketan and MFA from the collage of art New Delhi she was also awarded by the
French government a scholarship to work in lithography and etching at cite
international Des Arts and Ecole des Beaux-Arts in 1985-86.29 She expresses her ideas
and subject matter through the spirit of nature, and her mastery of technique is evident
in the painterly feel of her prints. Nayar sought refuge in spiritualism after the tragic
loss of her daughter, and these influences can be seen in her recent work, such as the
series ‘Seeds’ [Plate V] (2009-2012), (Plate) in which she explores the meaning of life
through the visual vocabulary of flowers and fetuses.

29. Kavita Nayar-Know me Accessed May 15, 2022

https://www.kavitanayar.com/About_us.html

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 Plate I

Raja Ravi Verma, Lakshmi

Oleographs, 59wx80cm

Source: The Antique Story

Plate II
Somnath Hore, Tebhaga Movement-At the Night Meeting, 1995
Woodcut, 6.75x8.25inch
Source: The wire

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 Plate III
Krishna Reddy, Whirlpool,
Mixed color intaglio, 50.2x65.4cm
Source: Story ltd

Plate IV
Anupam Sud, Dialogue VIII, 1992
Etching, 49.5x97cm
Source: adwinsart.com

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 Plate V
Kavita Nayar, Seeds, 2010
Etching, 28x26cm
Source: Kavitanayar.com

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 Chapter: IV

Background Study on
Printmakers: Contemporary
Artist of Assam

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 Chapter: IV

Background Study on Printmakers: Contemporary Artist of

Assam

4.1 A Study an Artistic Process on printmaking of Assam: Artists of 20th Century

The nineteenth-century period of printing in Assam was known as the ‘Orunodoi Era’
which was established and spread all over Assam. Wood engravings were highly
developed like the rest of the mediums like sculptures and paintings this art activity
was practiced in the royal court of the Satras. In 1813 the first Assamese book was
printed which was a Bible and was published by William Carey as well as Orunodoi
was the first Assamese printed Magazine it was almost like an encyclopedia of
knowledge. Following 'Orunodoi,' many publishing houses and printing presses
published books, and with these publications came equally developed illustrations and
many artist working as printmakers for all publishing houses. Noni Borpujari is a
renowned Assamese artist who was born after India's independence. He is a
printmaker and the senior-most from Tamuly and Seal. He and others were successful
in establishing a position for Assamese artists in the Indian scene.

Later period the Guwahati art school was established in 1947 and artists like
Ajit Seal and Dilip Tamuly have both made enormous contributions to developing and
improving the fields of Graphic arts. Tamuly is the pioneer of printmaking in Assam,
India. He is called a master of black Expressionism, especially for his lithograph,
s30and his works are part of several museums around the world. He is a well-known
graphic Artist with international recognition on the European Art circuit.

Ajit Seal has worked as an early printmaker since his days at the government
school of Art and Craft in Guwahati. He was experimenting with various prints based
on both traditional values and modernist ethos.

30. Hemanta Das Accessed April,9, 20022 www.joics.com

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Madhusudan Das is the senior Printmaker artist of Assam also passed out from MS
University of Vadodara. He mostly does his work on woodcuts and experiments with
woodblock relief printing. Other artists like Pramod Baruah who is well known for his
colorful large size printworks. His prints give a painterly effect and he uses both paper
and canvas for print.

In this field there are many more other artists who have also contributed and are
known for their works Rajkumar Mazinder, Parikshit Baruah, Chandan Bezbarua, and
Priyom Talukdar, Maneaswar Brahma, etc are very Dedicated Printmaker of Assam.

4.2 A Study on Conceptual Printmaking Artworks of Assam: Manika

Devi

Manika Devi is a Freelancer artist from Assam, she studied BFA from the government
college of Arts and Crafts and MFA (graphics) from the Faculty of Fine Arts, M.S
University, Vadodara, Gujrat. She has done a lot of solo art exhibitions as well as
group art exhibitions on national and international platforms, and also workshops in
different fields. During the time of her Bachelor’s degree, the themes in her works
were all related to nature and its forms and its characteristics, later part she has
changed it with female relation or the reaction on social life with subject matter as
nature for example ‘Alone-I, II’ [Plates I, II] where she composes a woman alone in
nature. ‘Friendship of Nature’ [Plate III] this work speaks about her admiration and
love towards nature as it’s a part of her memory. When she has seen the purple flower
in the forest and the forms of the trees, she immediately sketched the whole scenery
and made it with color lino print.

Most of her Artwork depicts the life journey, of people their space, place, and also
about their personalities. She uses metaphors and Symbols to depict human emotions
and their state of mind. For example, ‘Where is my landing place’ [Plate IV] is a multi-
plate etching done in 2001, hear she uses nature as a representation of people, where
one left is falling and searching for its place to be landed. It’s a metaphor for one
individual person to find their belonging place among a group of people. ‘Searching
Space’[Plate V] it’s about people’s findings, choosing and searching for their path in
life.

26 | P a g e
 After Master’s Degree in 2000, Manika started to develop her work into
conceptual on wood engravings with elements and objects which were generally used
by women. Also, her works shifted towards the themes related to politics and suffering
from terrosim. The terrorist attacks which creates a question in her mind that is it
shaped by a terrorist or some politics is related to it ‘In confidence’ [Plate VI] hear she
composed the human bust in a table with a blindfolded and two guns are kept beside
them and at the background, two hand grenade hanged hidden in the clouds. Done in
Etching through this work she shows the positive and negative aspects of life, as well
as the bombing terror which was happening during that time also, she depicts people
as blind but they act like they know everything. With the same subject matter, Manika
also done another related theme artwork in the year 2019 ‘Journey with the Red’ [Plate
VII] medium is woodcut where the bright red river is flowing with some other objects
like keys, books, fishes, ladder, and even words. Her elements and subject matters and
concept has different, for example ‘Amalgamation’ [Plate VIII] which is a serigraphy
print. Hear same elements have been composed. Speaks about the guidance in life
journey and fellowship towards the person who plays an important role in life. She
represents it in a form of fish. In the composition where one fish is moving forward
and the rest of them are following. The ladder represents the steps of the journey with
rainy clouds. It resembles the positive vibes.

Rene Magritte was the surrealist painter of the 20th century. He used objects
that are familiar and unfamiliar to the viewers which creates a conceptual game in the
viewers’ minds. He paints and represents the object in a realistic form and also
establishes an unsettling relationship between them. Throughout his career, he always
re-invented and refines the conceptual game. His paintings are populated with
crossbreeds and objects.31 Manika’s artworks resemble Rene Magritte’s paintings like
‘The Poetic World II’[Plate XI] as they both use object-like clouds in their works, but
the way of expression and representation of the idea in her artworks is totally different.

Manika’s prints very clean and nicely carved from wood as she likes fine
minor lines in her works, she even uses a direct log of wood to engrave which is very
hard to carve but it gives a natural wood texture and hair-like lines in her work. For
example, ‘Anubhuti’ [Plate X] has also done works on various mediums like lino

31. Jose Maria Faerna , Magritte, Harry N. Abrams, INC

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 sheet, viscosity, intaglio, collagraph, lithographs, Serigraphy, etching, etc. Her works
keep on changing from time to time but the language and the style to use metaphor
are almost similar.32

32. Interviewed, Manika Devi, March,27,2022

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 Plate I
Manika Devi, Alone I, 1997
Etching
Source: Private

Plate II
Manika Devi, Alone II, 1997
Linocut
Source: Private

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 Plate III
Manika Devi, Friendship of Nature, 1999
Lino print
Source: Private

Plate IV
Manika Devi, where is my landing Space, 2001
Multiplate Etching
Source: Private

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 Plate V
Manika Devi, Searching Space, 2013
Lino print with color,
Source: Private

Plate VI
Manika Devi, In Confidence, 2012
Etching
Source: Private

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 Plate VII
Manika Devi, Journey with the Red, 2019
Wood cut print
Source: Private

Plate VIII
Manika Devi, Amalgamation, 2020
Serigraphy,
Source: Private

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 Plate XI
Rene Magritte, The Poetic World II, 1939
Oil
Source: arthive.com

Plate X
Manika Devi, Anubhuti, 2002
Wood-Engraving
Source: Private

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Chapter: V
Conclusion

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 Chapter: V
Conclusion

5.1 Summary of Conclusion

Printmaking is a form of visual art that began in China. It’s a way to imitate several
images with one particular block or plate by the use of ink. Artists have been
experimenting with this form of art in several mediums like woodcut, etching, dry
points, lino cut, and many more. This thing was adopted by western artists from the
fifteenth century. The key figure was Alberth Durer from the northern renaissance his
works were very influential as well as good in an aesthetic sense. Also, the works of
Hokusai created an impact on the world art scenario and artists took the inspiration
and develop their own works. Later many other artists like Rembrandt Van Rijn,
Goya, Honore Daumier, and Pablo Picasso with different time periods and isms have
created masterpieces with their own subject matter and situation, and also there were
several female artists who have not been recognized like Anjelica Kauffman.

Whereas in India printmaking art forms have their own place of development
by the artist in different regions. The key figure is Raja Ravi Verma with his oleograph
and another artist like Somnath hore and Krishna Reddy have their own visual
identity. After independence, female artists like Anupama Sud, and Kavita Nayar has
a huge contribution to developing printmaking art in India.

In Assam, it started as Orunodoi and was later developed by Dilip Tamuly and Ajit
seal. The works of Manika Devi speak about her admiration and love for nature. Her
works are conceptually developed and give the feeling of uniqueness. Her works are
clean and minorly detail the lines textures and objects, in her Artwork. with the
historical evaluation, it can be understood that printmaking has its own vast history
and there are many emerging and young artists still practicing this particular art form
worldwide.

5.2 Findings of the Research

1. In this research it found, as an female artist Manika’s chosen the nature theme into
her works.

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2. In this research it found, Manika’s printmaking artworks resemblance with
surrealist painter Rene Magritte.

5.3 Further Scope of Study

Printmaking has its own revolutionary history of development in different regions.

There are several artists that still practice this technique even in India. Most of the
artist are celebrated and well-known for their works. Anupum Sud is one of the
talented and unique artists of India. Her experiments artworks on intaglio with
lithography and screen printing. Somanth Hore, teacher of Anupam Sud. Anupam
Sud’s artworks on surreal and sensual narratives. Her artworks inspired mainly
focused on the human body and both male and female sexuality. Further the study on
the style, technique, and subject matter of Anupam Sud.

5.4 Concluding Notes

Printmaking is the oldest method to take impressions of images. But the style and
mediums have been changed from period to period. This study with the objective
listed above and the data collected speaks about the historical background of
printmaking and one female artist of Assam.

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content/uploads/2020/04/Printmaking-In-India.pdf.

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Baungarten, Bettina. n.d. Abjelica Kauffman Research Project. Accessed June 25, 2022.
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n.d. DAG. Accessed May 15, 2022. , https://www.artisera.com/collections/oleographs.

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Devi, Manika, interview by Aditya Deb Nath. 2022. Printmaking Guwahati, (March 27).

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20as%20the%20matrix.

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With the Artist

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