Skip to main content

Dhiraj Choudhury 1st April 1936 – 1st June 2018.


Dhiraj Choudhury was born on 1936 at then Bengal, now Bangladesh. He was a student of Government College, Darjeeling and the Principal Dr. K. D.Ghosh encouraged him to follow up his dreams to become an artist. Later he was admitted to College of Arts and Crafts, Calcutta and Delhi Polytechnic (Delhi College of Art). He has taught from 1962 to 1996 in Women Polytechnic and Department of Painting, Delhi College of Art, University of Delhi. He has ameliorated Calcutta Painters Society by being a member, of Artists Forum, Society of Contemporary Artists, AIFACS, New Delhi. Dhiraj Choudhury has founded ‘Quartet Artist’ and ‘Line’, a group devoted to drawing.

Dhiraj Choudhury has more than hundred exhibitions, among few great are international, which is sufficient enough to understand his caliber and popularity as a painter. UK, USA, France, Germany, Switzerland, Singapore are the countries where his foreign shows were arranged by his appreciators. In 1979 an exhibition in Geneva with Miro and Dali added a very special feather to his cap. Dhiraj Choudhury, the Artist steadfastly believes that art has to be closely associated with life – with humanity, with humanism. And he comes through with this concept in his works – which are sometimes heart – reading, sometimes violent, brutal even chaotic, but always cogent, modern, and somehow loaded with both wisdom and hope. His figurative abstract works are one of the most precious collection of India’s contemporary art collectives.

And ever since he has perused an independent art career, perfecting his peculiar style that has won him many a acclaim and awards at National and State level. In 1991 he earned a gold medal in the 7th International triennale India.  He has held many a solo shows in Delhi and Mumbai. He has been an active participant in regional state and national and International art activities that have exposed his art to an ever-wider audience.A large part of his time is now taken up by his ‘Creativity and Concern for Humanity’ project. “I am trying to bring together people from diverse backgrounds and expose them to art. I believe you can depict love through art and motivate people,” he says, adding that he did an entire series on love in the early 2000s. Choudhury sees similarities between the Bengal and Madras schools of art. “Drawing is the binding factor for both, though that is changing as younger artists experiment with installation and video art,” he says. Drawing is the basis of his art, whether he is working with water colours or oil, on canvas or paper, in sculpture, ceramic or wood. His latest series is in wood, in what he calls ‘burnt relief painted’ media. “It was done with a chisel, not just a brush. I worked on the wood, charred it, then painted over it. I wanted to experiment and challenge myself. It looks different,” he says.


Today morning he has said goodbye to all of us for his ultimate journey.

Dhiraj Choudhury 1st April 1936 – 1st June 2018.


Comments

  1. Congratulations pravuddha ji for the excellent write-up.well said that art has to be closely associated with life, humanity and humanism. As I come through this knowing more about eminent artists of Bharat...Salute

    ReplyDelete

Post a Comment

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...