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12. , pp. 66-74. For a vivid historical account of this period and these activities, see Sumit Sarkar, The Swadeshi Movement in Bengal (New Delhi: PPH, 1973). 13. I provide a detailed account of the early development of the artist and his role as the leader of nationalist a r t movement in The Making ofa New 'Indian'Art, Chapter7, pp. 226-312. This period of Abanindranath'swork is only sketchily recounted in thisarticte. 14. University of Baroda, 1973), pp. 7281. 15. This nationalist art-critical discourse and the debates it generated is discussed a t length in The Making of a New 'Indian'Art, Chapter 6.

Pp. 185199. 16. Gharoa, pp. 61-62, 76-77, ff. The premium he places on fancy and whimsicality as the source of his creativity came out of the general tenor of cultural activity of the Jorasanko home, where one ofthe main poetry and dramatic clubs setup by Rabindranath Tagore in the 1890swas named Khamkheyali Sabha - khamkheyali is the term I loosely translate as whimsical. 17. Abanindronother Shilpa Charcha Sambondhe Smriti-charana (Abanindranath's reminiscences on his mode of painting)- Abanindranath Tagore papers, Rabindra Bhavan Archives.

Butthat thitms to paint his famous panels on India's claim becomes difficult to sustain - not least life and culture for the pavilions of the because of the way the ageing Abanindranath pura Congress session of 1938, producing a kept turnlng his back on his present and found modernist model of a 'people's art'. (Figure himself isolated from the very circuit of bdo less striking is Jamini Roy's turn-around exhibitions, art criticism and art publicationsthat ng these years from his middle-class once been the mainstay of his art movement.

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