Osian's Auction Catalogue Indian Antiquities Modern Contemporary Fine Arts and Books | April 2017

“Human history has been my most common theme since childhood. People, the people of my country, those who in the first place I am very fond of, they brought me from the world of my ancestors to a more contemporary India. At the beginning of the Second World War, I took refuge in a village near the Burmese border. There I happened to meet with several organisers of an underground peasant movement. From them I learned for the first time about fascism and civil war. The assault on Burma brought the war closer to the borders of Bengal and the members of the organisation asked me to produce posters against the Japanese fascists. Posters were attached to bamboo poles and mats in the field behind the village. And that was actually my first exhibition. ‘People coming to the market used to stand in front of my posters and for the first time in my life I was convinced that I could finally paint in a way that each and everybody could understand me. At the same time I understood another thing - the more I wanted to keep politics aside in my life to devote to art only, the more the life of this country used to return me again and again into the arms of politics. That’s right, the artist is still just a human being - nothing more, nothing less, who is from his very birth bound to the fate of his homeland. Whether he is aware of it or not, whether he likes it or not, he becomes part of the future of his fellow citizens. ‘In 1943, I witnessed the famine in my native Bengal. During one year, three million people died there. I wanted my paintings to speak for all the unfortunate, the helpless and innocent victims. I know my drawings could not save any of these human beings. But probably they brought it near those people who considered art a luxury of the privileged or the fetish of the backward. ‘And so, face to face with death, again and again, I realise what art is really and what its value is. For me, it is primarily the artist’s message to his contemporaries. And that message must be stronger the more the very essence of humanity is threatened. Perhaps it seems trivial to those who physically survived.’I consider the engraving with its fast, cheap reproduction as the most effective means of communication for the learned and also for the unlearned. Each artist must sooner or later, consciously or unconsciously, express his moral and political opinion. In my art work, I represent the tradition of moralists and political reformers. To save people means to save art itself. The activity of an artist means the active denial of death.” – Chittaprosad, from his film ‘Confession’ (1972) rpt. in [BOOK.exc/ BOOK.ess, 2011]. Mallik, Sanjoy Kumar (Author). Reminiscences of Chittaprosad: In Conversation with Ing. František Salaba. “Chittaprosad: A Retrospective 1915-1978” . New Delhi :Delhi Art Gallery 2011; Vol. 2; pp.488-490 Property Formerly from the Collection of the František Salaba, Czech Republic 45 Chittaprosad 1915-1978 Village Scene at Harvesting Oil on canvas pasted on board, c.1953-5 15.7 x 30.6 in (40.0 x 77.7 cm) Provenance New Delhi-based Collector; formerly in the Collection of friend of Chittaprosad František Salaba, Czech Republic. Illustrative Reference Mallik, Sanjoy Kumar [Main Author]; Kishore Singh [Ed.] [2011]. Chittaprosad: 1915-1978 A Retrospective. New Delhi: Delhi Art Gallery (2 Vols.); p.404 Untitled [Village Scene at Harvesting] Singh, Kishore (Editor). Chittaprosad: A Retrospective (1915- 1978). Mumbai: Delhi Art Gallery 2011; pp.404 (col.)/ BOOK. INR 2,000,000 – 3,000,000 USD 29,850 – 44,780 96 | Osian’s–Connoisseurs of Art