Long before social media and emails, artists of the Bengal School of Art in Shantiniketan used painted postcards to stay connected. Between the 1940s and 1960s, they exchanged intimate messages adorned with watercolor paintings, offering glimpses into their creative journeys. The exhibition ‘Bengal School Painted Postcards,’ curated by Jyotirmoy Bhattacharya at the Surrendra Paul Art Gallery, showcases these rare postcards, uncovering a lesser-known chapter in Indian art history.
“There was no email or SMS—postcards, inland letters, and handwritten notes were the primary means of staying connected,” explains Bhattacharya. “Artists began by sketching on postcards and sending them with messages, a practice that evolved into a tradition among Bengal School artists, particularly in Shantiniketan.”
The Bengal School of Art emerged as a movement to counter Western influences in Indian art, drawing inspiration from folklore, rural life, and nature. The postcards in the exhibition reflect the school’s signature style—delicate brushstrokes depicting landscapes, animals, and everyday scenes. Painted images of riversides, fishermen, owls, and crows capture the lyricism of nature, characteristic of the Shantiniketan aesthetic.
“These are quintessentially Bengal School works. When you look at them, you see landscapes and nature imbued with lyricism,” says Vasundhara Tewari Broota, founder of Sangeet Shyamala, School of Visual and Performing Arts in Delhi. The postcards, signed by artists such as Sagar, Satyen Bishi, Shailesh Deb Verma, and Amarendra Chowdhury, balance fine lines with poetic expression.
Artist life in the 1940s
This display highlights postcard exchanges between these artists and Pulin Bihari Sen, director of Visva-Bharati Granthana Vibhaga, Shantiniketan’s internal publication department. Though students of renowned painter Nandalal Bose, they remained largely unknown. Their postcards discuss financial hardship, job struggles and concerns, alongside simple Vijaya Dashami greetings.
One postcard from artist Raman Kundu mentions his unpaid salary as an art teacher and borrowing money from Bihari Sen. Others echo similar themes, revealing the economic challenges faced by artists in post-independence India. “These letters offer a window into a time when being an artist was not a viable profession,” explains Bhattacharya. “Few artists could sustain themselves solely through their work. While some gained popularity in Calcutta in the 1960s and ’70s, financial recognition for many came only after their passing.”
Recalling his encounters with struggling artists, Bhattacharya highlights their devotion. “Painting was their sadhana (spiritual practice). They lived on meagre earnings, creating simply because they were compelled to do so.”
While artists of the Bengal School struggled with financial instability and limited opportunities, Bhattacharya notes that the contemporary art scene is vastly different. “Conditions today are much more favorable,” he says, citing the rise of galleries, exhibitions, digital platforms, and alternative mediums that make art more accessible. However, he observes that the relationship between artists, writers, and musicians—once deeply intertwined—has become narrower. “Earlier, artists were cultural activists, engaging across disciplines. Now, with art and money coming together, thought processes have changed,” he reflects.
Though opportunities have expanded, he emphasizes that art remains a lifelong pursuit rather than a quick path to financial success. “Art is sadhana. Money may come later, but the real struggle is in continuous learning and reinvention.”
Missing link
These postcards belong to Bhattacharya’s collection, originally belonging to Anantnath Das, a scholar from Shantiniketan. Over the years, these letters changed hands before reaching Bhattacharya. “These postcards reveal a broader artistic landscape, highlighting forgotten artists and their contributions,” says Bhattacharya. “They uncover a missing link in Indian art history. We often hear only about a few well-known names.” He emphasizes how new discoveries reshape history. “Before this exhibit, these artists were largely forgotten. But now, as people engage with their work, more stories will emerge. That’s how history evolves—by continuously uncovering and integrating forgotten voices.”
Until now, these postcards had remained private. However, they will soon be featured in an upcoming book, bringing these historical exchanges to a wider audience and ensuring that the forgotten voices of the Bengal School artists continue to be heard.