Paintings predict Alzheimer’s risk
Analysing a person's painting strokes may help detect the risk of several neurodegenerative disorders such as Alzheimer's and Parkinson's disease,…
Born into a family whose creativity defined Bengal&’s cultural life, Gaganendranath Tagore received no formal education but trained under the watercolourist Harinarayan Bandopadhyay. In 1907, along with his brother Abanindranath, he founded the Indian Society of Oriental Art which later published the influential journal Rupam. Gaganendranath studied and assimilated Japanese brush techniques and the influence of Far Eastern art into his own work during the first decade of the previous millennium. This was demonstrated by his illustrations for Rabindranath Tagore&’s autobiography Jeevansmriti (1912). He went on to develop his own approach in his Chaitanya and Pilgrim series. Gaganendranath eventually abandoned the revivalism of the Bengal School and took up caricature. The Modern Review published many of his cartoons in 1917. From 1917 onwards, his satirical lithographs appeared in a series of books, including Play of Opposites, Realm of the Absurd and Reform Screams. Between 1920 and 1925, Gaganendranath pioneered experiments in modernist painting and was arguably “the only Indian painter before the 1940s who made use of the language and syntax of Cubism in his painting”. From 1925 onwards, the artist developed a complex postcubist style. Gaganendranath also took a keen interest in theatre, and wrote a children&’s book in, Bhodor Bahadur (‘Otter the Great’) which sometime reminded readers of the picturesque style of his sibling Abanindranath but are actually the only manifestation of the literary style of this lesser known but talented Tagore whose 149th birth anniversary passed by recently..
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