Untitled

Somnath Hore

Only the most accomplished artists possess genuine self-reflexivity, and Somnath Hore demonstrated this rare quality by recognising his tendency toward sentimentalism in his thematic choices. To counter this inclination and avoid redundancy, he deliberately experimented with new mediums and approaches. This particular watercolor, while reminiscent of his coloured etchings in style, represents a significant departure from his earlier documentary practice.

Unlike his intensely detailed works documenting the devastation of Chittagong’s 1942 bombing by the Japanese Royal Air Force, the tragic conditions during the Bengal Famine of 1943, or his meticulous portraits from the Tebhaga movement, this figurative work consciously abandons intricate detail.

Here, Hore moves decisively toward abstraction while maintaining figurative elements – a sophisticated balance that demonstrates his artistic maturity. Renowned for his precise rendering of facial features, including the finest lines and wrinkles, Hore deliberately strips away all facial definition and expression in this composition. Colours flow organically into one another, with forms becoming identifiable only through stark white outlines that serve as compositional anchors. The scene depicts what appears to be a village market or haat. On the right, a nude woman sits cross-legged, her breasts exposed, hands folded contemplatively, with a basket of wares before her. Beside her sits a man, with another male figure visible behind them. Abstract renditions of merchandise appear throughout the painting, including the discernible outline of a fish, suggesting the quotidian commerce of rural life. This work exemplifies Hore’s artistic evolution – maintaining his humanistic concerns while adopting a more abstract visual language that transcends mere documentation to achieve broader emotional and aesthetic resonance.