![]() The greatest living Russian poet at incalculable cost.Īcross the street there is a house under construction,Ībandoned to the rain. Burn! this is not negligible,īeing poetic, and not feeble, since it’s sponsored by The window closed last night? But that’s where healthĬomes from! His breath from the Urals, drawing me into flame Lacking the Master’s inspiration, I may freeze to deathīefore I can get out into the white rain. In Marburg (they say Italy and France are colder,īut I’m sure that Germany’s at least as cold as this) and, Put on my warm corduroy pants, a heavy maroon sweater,Īnd wrap myself in my old maroon bathrobe. It is the sole heat on earth, and instant coffee. Looks silly round a window giving out on winter trees It is still raining and the yellow-green cotton fruit Both Porter and O’Hara find ample artistic inspiration in the chill of a New England morning. Indeed, Chittaprosad deftly put together materials from his surroundings to build his ‘Khelaghar’ (Playhouse).Fairfield Porter studied at Harvard College, graduating in 1928 some 20 years later, Cambridge was also the meeting place for Kenneth Koch, John Ashbery, and Frank O’Hara, three young poets whose work would come to be known as the New York School. In a later stanza, the poet says that he is building his house with whatever material is available at hand, littered or scattered around him, including fragments and stones from yesteryear-like a bricoleur. We find a similar resonance in Rabindranath Tagore’s song ‘Khelaghar badhte legechhi’ (‘I have started building a playhouse’), where the poet speaks about his preoccupation with building a playhouse, which isolates him and forces him to forgo any calls from the outside world. The image in the background shows a letter written by Chittaprosad on a ‘Khelaghar’ letterhead, dated 30 November, 1958, sent to friend Murari Gupta from Andheri in the same letter the artist informed Gupta that he was about to disband ‘Khelaghar’, due to the callousness of the other two members of the troupe. Therefore, in these years of self-imposed exile, Chittaprosad retreated into a solitary journey into the world of puppets. ![]() To put it in the more precise terms used by his contemporary Somnath Hore, they could see the 'yawning gap between socialist politics and socialist philosophies'. His letters from this time to his close friend Murari Gupta intimately documents Chittaprosad's growing disillusionment towards Soviet socialist politics. Chittaprosad’s political caricatures of contemporary society and truthful documentation of socio-political issues in his distinct artistic style are etched in the public memory. ![]() Thus began another prolific chapter of producing sketches, drawings and paintings to document minutely many political events, most notably the Royal Indian Navy mutiny of 1946. ![]() Fascinated by his artistic skills, the General Secretary of Communist Party of India, Puran Chand Joshi took Chittaprosad to the Party’s headquarters in Bombay (now Mumbai).īombay also happened to be a thriving center of cultural dissent as many prominent progressive writers, singers and theatre personalities were working towards building a cultural front of the Communist Party under the umbrella of Indian People’s Theatre Association (IPTA). These sketches were later compiled and published as a booklet under the title 'Hungry Bengal'. In 1943, he traveled across the famine-stricken villages of Bengal and produced realistic sketches of human suffering that were regularly published in the pages of the Communist Party journal 'People’s War'. YOUNG CHITTAPROSAD: DAYS OF WORKING AS AN ARTIST-CADREĬhittaprosad Bhattacharya (1913-1978) was a versatile artist and a lifelong adherent of the socialistic worldview.
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