| BEGINNINGS 1924 Born in Kuthuparamba, North Malabar, Kerala State. 
                          He spent his childhood in different parts of Kerala 
                          He started drawing and painting early, inspired by painted 
                          wood sculpture of Kerala temples. 1932 Moved to the 
                          French administered town of Mahe in North Malabar. 1936 
                          Mahe being an asylum of various political activists, 
                          Subramanyan got drawn into youth clubs and study groups 
                          of Marxist Orientation. Read a lot, drew and made small 
                          laterite carvings. 1937 Got introduced to world Art 
                          through issues of L`Illustration, a French Journal. 
                          Gets introduced to the Indian art scene thro issues 
                          of The Modern Review. Admired the works of Abanindranath 
                          Tagore and Nandalal Bose. Read a lot of English and 
                          Malyalam poetry. 1938 Read about Indian thought and 
                          religion: Ramakrishna, Vivekananda, Annie Besant, Madam 
                          Blavatsky. Learned French and Sanskrit at school. Got 
                          interested in Gandhian Ideology through `My Experiments 
                          with Truth` and `Hind Swaraj` by Gandhiji. D.P. Roy | 
                    
                      | EDUCATION 
                           1933 Took admission in the English School at Mahe 
                            in 4th standard.1939 Passed Matriculation, entered St. Aloysius 
                            College, Mangalore, for further studies.1941 Entered Presidency College to study B.A.(Hons.) 
                            in Economics.1944-48 Studied at Kala Bhavan, Santiniketan.1955-56 British Council Research Scholarship to 
                            Slade School of Art, where he also he learnt print 
                            making, University of London.  EXHIBITIONS 
                          1953 Participated in the `Indian Art` exhb., USA. 
                          1955 Silpi Chakra, New Delhi (Also in 1958).1956 Solo show at the Jehangir art Gallery, Bombay.1956 `Three Artists` exhb. Hitchin, UK. 1959 Exhb. at Jehangir Art Gallery, Bombay.1960 Exhibition of designed textile at Bombay and 
                            New Delhi.1961 Participated in the Sao Paulo Biennale, Brazil.1961 Exhb. at Jehingir Art Gallery, Bombay.1963 Solo show at New Delhi.1964 Participated in the Tokyo Biennale, Japan.1964 Participated in the `Ten Indian Artist`, USA.1965 Textile paintings, mural and woven hangings 
                            shown in the New York World Fair.1966 Solo Show of paintings, Bombay.1967 Solo Show of works, Gallery Navina, New York.1968 Participated in the 1st Indian Triennale.1969 Solo show of paintings in Bombay.1971 Solo show in Delhi of Polytichs executed since 
                            1968.1972 Solo show of terracotta reliefs in Delhi.1976 Menton Biennale, France.1978 Solo show in Delhi of new  COLLECTION 
                          Ebrahim Alkazi & Art Heritage, New Delhi.J.J.School of Art, Bombay.Natonal Gallery of Modern Art, New Delhi.Punjab University, Chandigarh.Victoria and Albert Museum, London.  AWARDS 
                          1957, 59 Received Prize, Bombay Art Society, Bombay.1961 First Prize, Maharashtra State Exhb.1965 National Award.1968 Gold Medal, First Indian Triennale.1975 Awarded `Padma Shri` by Govt. of India. Elected 
                            to the World Craft Council.1981 Received Kalidas Samman.1985 Fellow, Lalit Kala Akademi.2004 Lalit Kala Ratna, Lalit Kala Akademi, New Delhi.  STYLE  `Subramanyan`s contact with surface, whether it is 
                          brush, tool or hand, is always light. just as his eye 
                          does not probe - it receives signals quickly - it follows 
                          that laying out of surface and countour is rapid, no 
                          time is spent obscuring the process. This preference 
                          was developed from an apprenticeship at Santiniketan 
                          and the influence of far eastern work ethics: of working 
                          spontaneously and discarding whatever is deficient or 
                          inappropriate, of the calligraphic principle as a life-force 
                          embodying energy, and as a forming device`. Nilima Sheikh. TEACHING EXPERIENCE  1951-59 Taught at the Faculty of Fine Arts, Maharaja 
                          Sayajirao, University, Baroda as a junior colleague 
                          in the team of Markhand Bhatt, Sankho Chaudhri and N.S. 
                          Bendre. 1961 Moved back to Baroda, as Reader in the 
                          Painting Dept., Faculty of Fine Arts. 1966 Became the 
                          Professor of Painting, Faculty of fine Arts, Baroda. 
                          1968 Became a Dean for 5 years tenure in, Faculty of 
                          Fine Arts, Baroda. 1977 Visiting Fellow at the Visva 
                          Bharati, Santiniketan. 1980 Professor of Painting and 
                          Design, Kala Bhavan, Santiniketan. 1987-88 Christensen 
                          Fellow, St. Catherine`s College, Oxford. 1989 Professor 
                          Emeritus, Visva Bharati, Santiniketan. back |