Skip to main content

Bikash Bhattacharjee


Image may contain: one or more people

"What humans have not seen with their eyes, they see through their habits."
Born in Kolkata in 1940, 21st June, Bikash Bhattacharjee lost his father at a very early age. In 1963, he graduated from Indian College of Art and Draftsmanship. He joined the same college as professor in 1968. From 1973, Bhattacharjee began teaching at the Government College of Arts and Crafts and taught there till 1982.
Image may contain: outdoor
Bhattacharjee drew inspiration for his work from his early dreary days, where vivid images of his struggling - the crumbling walls of buildings and the multitudes of people living there - wove a certain magic in his mind.
His drawings form a fitting introduction to his paintings, revealing the predilection of the artist for forms: forms that are consist in terms of tone rather than line. Bhatacharjee carefully expresses the textural effects of crayons, pastels and pencil using the combination of highlights and depths of passages built of varying intensities of line.
No automatic alt text available.
Improbable characters (both psychologically and physiologically) play a role on the canvas and dominate his oils. Yet his work is a powerful combination of realism and fantasy, where reality sets the ball rolling and fantasy helps the canvas assume a new reality.
His subject is always clear, recognizable, painted with faithfulness to detail and invested with a sense of the dramatic. Female beauty is a major preoccupation with him. But he also creates a varied cast of characters in his canvases - old men and women, children, domestic help. The ability to create an authentic milieu as a background to the characters heightens the drama.
Bhattacharjee's women are a strange mixture of spirituality and sensuality. Different moods of the painter are reflected in his different paintings. Some times flesh and blood figures turn shadowy. Where women in his canvas are an abstraction, men appear to live in their own world.
The artist explores the possibilities of oil as a medium and can depict the exact quality of drapery or the skin tone of a woman, the peeling walls of an old building. He had also achieved mastery over the capturing of the quality of light, an effect that lends his work a superb realism as well as an enigmatic quality. His love of cinema had a lot to do with this.
Image may contain: 2 people
Bhattacharjee is also known for his Kolkata cityscapes that he worked on in his twenties. He works with many mediums - oil on canvas, tempera, oil on board, pastels on board, watercolor, crayon and pencil.
The artist passed away in 2006.

Comments

Popular posts from this blog

Raghu Rai: The Unflinching Eye That Framed India’s Conscience by Prabuddha Ghosh

Raghu Rai: The Unflinching Eye That Framed India’s Conscience by Prabuddha Ghosh In the long and unsettled narrative of modern India, few visual chroniclers have worked with the moral clarity, emotional depth, and sustained intensity of Raghu Rai. To speak of him merely as a photographer is to understate the scope of his engagement. He is, more precisely, a witness to India’s becoming—its fractures, its continuities, its silences, and its eruptions. Across decades, his lens has moved with a rare steadiness through the country’s most defining moments, refusing spectacle while never relinquishing the power of the image. Born on 18 December 1942 in Jhang, in undivided Punjab—now in Pakistan—Rai belonged to a generation marked indelibly by the trauma of Partition. Geography, for him, was never inert. It was memory, rupture, and inheritance. Punjab was not simply a birthplace; it was a divided consciousness. That inheritance would quietly shape his sensibility. There is, in his work, an unm...

A Timeless Gaze, A Global Ascent: When Raja Ravi Varma Redefined the Place of Indian Art by Prabuddha Ghosh

A Timeless Gaze, A Global Ascent: When Raja Ravi Varma Redefined the Place of Indian Art by Prabuddha Ghosh ( The recent sale of Yashoda and Krishna by Raja Ravi Varma marks a defining moment in the trajectory of Indian art. Achieving an unprecedented ₹167.2 crore at Saffronart ’s Spring Live Auction in Mumbai, the painting has become the highest-valued work of Indian art ever sold. Acquired by Cyrus S. Poonawalla , it surpasses the earlier record set by M. F. Husain ’s Gram Yatra , indicating not only a shift in market dynamics but also a renewed cultural recognition. This article approaches the event as more than an auction milestone. It connects the sale to broader questions shaping the present and future of Indian art, including the evolution of collecting practices, the continued relevance of Varma’s legacy, the distinctive qualities of his paintings, the ongoing surge in the Indian art market, and the factors contributing to such extraordinary valuation. Drawing on current ...

A New Vista in My Creative Journey: Entering Digital Art by Prabuddha Ghosh

A New Vista in My Creative Journey: Entering Digital Art in 2025 by Prabuddha Ghosh A fter more than thirty-five years of dedicated engagement with photography and nearly two decades of sustained practice in digital photography, I have now entered a new and significant phase of my creative journey: the field of Digital Art. This transition has emerged organically through reflection, experimentation and encouragement from individuals whose guidance and faith have been deeply meaningful to me. In particular, I wish to acknowledge the constant motivation and mentorship of my friend and senior artist, Shri Atul Padiaji of Vadodara, Gujarat, whose encouragement gave me the confidence to explore this medium with greater seriousness and depth. Equally important has been the role of my younger brother, Shri Jayanta Khan of Kolkata, who, through his persistent inspiration over more than a year, urged me to take this decisive step and begin a new chapter in my artistic life. I also believe t...