By Tapati Guhathakurata

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The tour de force of Abanindranath's work, the discussion of these "Arabian Nights" paintings also form the most substantive part and the high point of the author's art historical analysis in his new volume, PaintingsofAbonindranath Tagore. 32. , p. 155-157. 33. These were first published as an anthology by Calcutta University in 1941, followed by an expanded reprint edition by Rupa &Co. in 1969. 34. 14, which were translated as Some Notes on indiak Artistic Autonomy and Shadanga or Six Limbs of Indian Painting (Calcutta: Indian Society of Oriental Art, 1914,1921).

Figure himself isolated from the very circuit of bdo less striking is Jamini Roy's turn-around exhibitions, art criticism and art publicationsthat ng these years from his middle-class once been the mainstay of his art movement. For emlc art practice t o the ideaiised world of one who had never travelled abroad, and was rural scroll palnters and terracotta craftsmen, reluctant to ever move too far or for too long out retreat from Calcutta to his village home in of the shell of his home, Abanindranath's bra, and the inculcation of his own modem disengagementwiththe outsideworld of modem style.

25. Letter from Abanindranath to Havell, dated 5* September 1925 - Havell Papers, Oriental and India Office Collections, London. 26. Ratan Parimoo in The Painting of the Three Tagores offers the most detailed comparative analysis (to date) of the works of these three artists within the common family milieu of Jorasanko and the overlapping time frames of their careers, all of which reached their peak during thedecadeofthe20s. 27. These three caricature albums, where the pictures were lithographed by Gaganendranath In his own press, were titled Adhbut Lok (1917), Birup Bajra (1918) and Naba Hullor (1921).

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