1921 - 1964




Artist Profile


Born in Calcutta, West Bengal. 1947 Started to paint after giving up his job at Central Excise Service, Calcutta. His association with the Indian Institute of Art and Industry and Indian Society of Oriental Art played a vital role in his life. He was close to Indra Dugar. Associated with Art in Industry and Rachana till 1952. These associations inspired him towards traditional Indian Art, French Impressionism and Chinese Art. 1953 His painting was presented to the President, Federal Republic of Germany by Govt. of India. Wrote articles on art in newspapers and journals.


Self-taught artist with no academic training in art. 1942 Completed Graduation, Calcutta. Grandfather, Nagendra Bose inspired him to start painting. Initially learnt drawing and painting at Belgachia Pannalalshil Vidyamandir, presently called Manohar Academy, Calcutta. Learnt the technique of oil painting from artist Debi Prasad Roychowdhury.


1955 First solo exhb., Artistry House, Calcutta. 1964 Group exhb., Academy of Fine Arts, Calcutta. Group exhb., Lalit Kala Akademi, New Delhi. 1994 Solo exhb., Birla Academy of Art and Culture, Calcutta. Exhb., Sophia, Hungary. 2004 Manifestations II, organised by Delhi Art Gallery, Jehangir Art Gallery, Mumbai and Delhi Art Gallery, New Delhi.


Academy of Fine Arts, Kolkata. Ramkrishna Mission Institute of Culture, Kolkata. National Gallery of Modern Art, New Delhi. Private collections, Germany and India.


For inspiration and evolving a personal style, Dipen looked at any part of the history of art that seemed useful- Jain and Kangra painting, to Far Eastern art and even to Impressionism. This eclectic method finally resulted in a style akin to the Bengal School. During the mid 1940s, when Euro-centric concepts of Modernism were gaining momentum in India, Dipen as a loner ventured into a rather forgotten zone- the world of Indian mythology. During the early years of the twentieth century, the nationalistic movements demanded History Painting to conjure up a romantic vision of the past. During the hey day of colonialism, the need was more emotional than real. With time, the trend of History Painting waned. It was exactly at that time when Zainul Abedin, Chittaprosad, Rathin Maitra, Prodosh Dasgupta were drawing on the reality of human sufferings around them that Dipen quietly stood apart and painted from imagination, while Zainul painted from life. Dipens exploitation of mythology referre