Gaganendranath Tagore Art

Gaganendranath Tagore was born on on 18th of September, 1867, at Jorasanko in the Tagore family home in Calcutta. He was the nephew of Rabindranath Tagore. Though he didn't receive any formal education in painting later became a prominent figure of Bengal School of Art. He founded the Indian Society of Oriental Art along with his brother Abanindranath Tagore. Gaganendranath was inspired by Japaneese painting techniques, especially  Yokoyama Taikan and other Far Eastern styles, between the years 1906 and 1910. Also he got inspirations from European experimental art like Cubism and used geometric compositions in Indian/Oriental context, build up his own brand of Cubism. Maybe he was the first to use these types of try outs fruitfully.
However he is best known for his political cartoons and social satires on Westernised Bengalis. His work was exhibited in the 22nd exhibition de Societe des peintres orientalistes francais (1914) in Paris, London, Belgium and Holland, and in a travelling exhibition organised by the American Federation of Art and ISOA (1924) in London and Germany, and he exhibited in the Athene Gallery in Geneva in 1928.
Rabindranath Tagore, his uncle commented on his art, thus, in 1938: "What profoundly attracted me was the uniqueness of his creation, a lively curiosity in his constant experiments, and some mysterious depth in their imaginative value. Closely surrounded by the atmosphere of a new art movement ... he sought out his own untrodden path of adventure, attempted marvelous experiments in coloring and made fantastic trials in the magic of light and shade."
Died in 1938.

Magician (1925)
Water Color

Himalayan Bride

Rabindranath Tagore in the Island of Birds

Composition

Das Kino Und Der Tod (1988)

Das Kino Und Der Tod (1988)
Cinema and Death
West Germany
46 min
Documentary
Director: Hartmut Bitomsky

Using "basic" cinematic concept and techniques Hartmut Bitomsky made this documentary about murder in celluloid. He explains each scene by showing photographs of film scenes through movement of his hands. All the documentary scenes are static like images and also inside it film images are moving. Through this ways he examines Torn Curtain, Blow-Up, Band A Part and a series of classic/B grade films which include murder scenes.  In this documentary too we are not seeing the film clips as "clips" but we are seeing it. Bitomsky severalize a film into film images, its movements, music and voices then uniting them into a single piece through separation. In cinema time is considerably shrunk while dealing with killing- For 2 days death, cinema allows only 15 minutes which clearly shows the tyrannic fist of film over time and eyes. We can see, in this documentary too, time is slaughtered in editing table, showing a burning cigarette and a digital clock.
In first set of movies ie; Hitchcock's Torn Curtain and Seigel's Killers we can see the potential of killers. When it reaches Band A Part "nothing is more unreal as film death" Godard cancels all detailed symptoms of a so called film murder. Underworld by Fuller, Un Chien Andalou by Buñuel and Psycho by Hitchcock viewer is not exactly seeing the "killing" but his mind conceives "a murder has taken place". How photography played a crucial role in films is studied through Antonioni's Blow -Up, Shakedown by Joseph Pevney. Director brilliantly visualizes Bazins " Photography as shroud of reality" dialogue through the images from Chabrol's Les Bonnes Femmes sequencing from the murder scene to backwards.  Bitomsky points out the two classes of murder victims in film- One with a clear destiny and others without ( usually appear as mass) can be seen in Griffith's Massacre, Neutrality and Mechanization of death in Wild Bunch/ Western Movies, Morality of Killing in Orders to kill and Kiss Me deadly and also some other interesting murder classifications.