Oil painting has remained the most important medium for painters since time immemorial.

Oil is the most versatile of all medium too. And it was the only medium that could be used to paint photographic realistic images. It got replaced by acrylic finally in terms of versatility only in the later half of twentieth century. Thus most painters born before Indian independence are found to be oil painters. The majority of comany School works of Bengal are in Oil. Though it was shunned as a western medium by many the early Shantiniketan artists, it could never be ignored by the later day artists of the same school.

And though many painters in Bengal had attempted other medium like conte (Ganesh paine , Sunil Das ), gouache (Ganesh Haloi ), tempera, water colour etc, oil remained the most important of all medium. Almost all major painters of the Santiniketan School from KG Subbhramaniayan , Benode Bihari , Sailoz Mukherjee, or the Calcutta Group A company school oil work Painters like Paritosh Sen had worked in oil. Oil can be used on canvas, board, on any hard non-absorbent surface but not that effectively on paper. In the 60s and the 70s, many painters had tried mixing oil with other media like acrylic and pastel. These Old Bengal paintings were initially called mixed media works. Suvaprasanna and for some time BR Panesar created School some very good such works. The problem with oil are however many. They do not mix well with any other medium. They take long time to dry, and they dont allow use on paper and other absorbent bases.

A Oil painting by artist Sailoz Mukherjee

In the post-liberalization phase of India, when artists are getting exposed to a variety of new material, the handicaps of oil are proving too daunting, which is why most young generation artists like Devajyoti Ray do not work much in this medium. They are now moving towards the more versatile Acrylic .

Abanindranath Tagore Gagnendranath Tagore Nandalal Bose Rabindranath Tagore Hemen Majumdar Sunayanai Devi

Ramkinkar Baij Amrita Shergil Jamini Roy Abani Sen

Later-day Avant Garde Nirad Majumdar artists of Bengal School Pradosh Dasgupta

Kamala Dasgupta Benode Bihari Mukherjee KG Subbhramainayan Sailoz Mukherjee Somenath Hore Reba Hore Sailoz Mukhrejee
From 1st world war to Independence Zainul Abedin

Roma Mukherjee

Chittoprosad Bhattacharya Quamrul Hassan Govardhan Ash

Paritosh Sen Gopal Ghosh Pritish Ganguli Dharmanarayan Dasgupta Ramananda Bandhopadhyay Sanat Kar Ganesh paine Ganesh Haloi Bikash Bhattacharya
Postindependence BR Panesar Era

Manu Parekh Jatin Das Jogen Choudhuri Shakti Burman Shyamal Duttaroy Prokash Karmakar Shuvaprasanna Lalu Prosad Shaw Sunil Das Swapan Das Wasim Kapoor Suhas Roy Lalu Prosad Shaw

Sanjay Bhattacharya Sameer Aich Paresh Maity Devajyoti Ray Shakila Maya Burman
Postliberalization Jayashree Chakraborti phase

Chittrobhanu Majumdar Arpita Basu Amitava Das Sajal Roy Subrata Kundu Shipra Dasgupta Parag Ray

Sailoz Mukherjee
(1908-1960)
1. 1) Indian Village Family, 1956, Oil on. Indian Village Family. National Gallery of Modern Art, New Delhi ...2) The Mosque,Modern Indian Paintings series issued in 1978
23/03/1978 Postage Stamp Dinomination Postal Stamp Serial Number Postal Stamp Name Home Browse By Issue Date Paper Color Print Size Currency Alphabetical List

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0.50 0883 THE MOSQUE (SAILOZ MUKHERJEE) Against the background of over 5,000 years of Indian artistc tradition, the

history of contempory Indian art may seem but a fraction. Nonetheless, its development is spectacular despite many vicissitudes. It is generally accepted that the image of contemporary Indian art has substantial acquired its characteristics during the post ?Independence period, although one may trace its origin to the earlier years of the century against the chequered backdrop of Abanindranath Tagore and the Indian renaissance, Ravi Verma and his likethe academic realists in the Western manner-and the Company School which filled the scene following the decline of the Indian miniature tradition. Contemporary Indian art is distinguished by a plurality of expression that may baffle one initially but will sort itself out with familiarity and careful study. Basically, the contemporary Indian artist shares the tremendous spirit of adventure and freedom of artistic expression with his counterparts the world over and with this an eclectic approach to technical problems and the high degree of individualism which is perhaps the most significant gift of the modern age. The pioneers such as Rabindranah Tagore, Abanindranath Tagore, Nandalal Bose, Jamini Roy, and

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Amrita Sher Gil are already legend. Those who have come after them and who have made a significant contribution are not numerous, but quite substantial. The search and experiment is still on. And there is more than a sign of the coming of age of the contemporary artist. SAILOZ MOOKHERJEA (1907-1960) He studied art in Calcutta and had his first OneMan show in 1937. Sailoz Mookherjea traveled in Europe in 1937-38, ater on, in Sikkim and Tibet. He came to Delhi in 1945. Sailoz exhibited extensively winning several awards and prizes. Both as a painter and as a man he won the heart of many an artist and became a father figure. His work was deeply inspired by people and the environment. Despite his eclectism, he always remained at onece both personal and universal. --S. A. Krishnan The Indian Post and Telegraphs Department is happy to bring out a series of four special postage stamps on Modern Indian Paintings. The painting depicted is ?The Mosque? by Sailoz Mookherjea (50p).The design of the First Day Cover depicts the painting titled ?Words and Symbols? by K.C.S. Panicker. (Courtesy: National Gallery of Modern Art.) P COMMEMORATIVE

Stamp Language Stamp Overall Size Postal Stamp Print Size Number of Stamps Per Sheet Stamp Perforations Postal Stamp Shape Postage Stamp Paper Indian Stamp Process Number of stamps printed Stamp Printed At Indian Stamp's Color 3)Multicolour"Landscape,

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English 4.82 X 4.06 cms 4.4 x 3.6 cms. 50 14 x 14 Vertical Unwatermarked paper Photogravure 30,00,000 India Security Press

Tempera on Board, Signed in English lower right, Size: 48 x 32.5 cms, [National Art Treasure / Non Exportable

After the decline of Mughal empire and the end of classical and medieval art of India. Contemporary art began with the British rule in India. Raja Ravi Varma, Abanindranath Tagore, Amrita Shergil, Rabindra Nath Tagore, and Jamini Roy, were the pioneers of contemporary Indian Art. These young artists were more exposed to the western art movements. German Expressionism, Cubism, Fauvism, Dadaism and Surrealism left great influence on these Indian painters, but at the same time, their struggle to retain Indian identity continued. A combination of western technique and Indian spiritualism became the essence of Indian art at this stage. Along with the western methods and materials, they also tried to use the far eastern methods of painting. Lot of experiments were done with print making (Woodcut, Lithograph, Etching etc.). Pradosh Das Gupta, Prankrishna Pal, Nirode Mazumder, Paritosh Sen and others of Calcutta group held the first show in 1943 and the progressive Artists group of Bombay exhibited the paintings of F.N. Souza, Raza, M.F. Hussain, K.H. Ara and others in 1947. While some artists were experimenting with western style, others like Benode Behari Mukherjee, Ramkinkar Vaij, Sailoz Mukherjee, showed inclination towards Japanese art and Folk Art. Two of Bengal School artists, Devi Prosad Roy Chowdhury and Saroda Ukil played fundamental roles in introducing modern art movement in the Northern and Southern parts of India. K.C.S. Panikar and Srinivasalu, students of D.P. Roy choudhury, made their mark in contemporary Art while Saroda Ukil established an Art School in Delhi