| Medium | : | Ink |
|---|---|---|
| Height | : | 7.1 inch / 18 cm |
| Width | : | 10.2 inch / 25.9 cm |
| Dimension | : | W: 25.9 cm × H: 18 cm |
An intense pen-and-ink work by Somnath Hore, where fragmented human forms and restless lines convey psychological tension, vulnerability, and emotional depth.
Somnath Hore | Untitled | Pen & Ink on Paper | 7.1 x 10.2 inches | 1992
This untitled pen-and-ink drawing by Somnath Hore is a powerful example of the artist’s late, distilled language, where the human form is fractured, dispersed, and held together only by the urgency of line. The composition is charged with nervous, intersecting strokes that crisscross the surface, creating a sense of turbulence and emotional strain. At the center, a partially discernible face tilts downward, its profile emerging briefly from the web of lines before dissolving again into abstraction. Disjointed limbs and ambiguous forms appear to float and collide, suggesting bodily vulnerability, collapse, or psychic unrest rather than physical action. Hore’s refusal to anchor the figures within a defined space intensifies the feeling of disorientation, allowing emptiness and mark-making to function as equal forces. The drawing reads less as a depiction of bodies and more as an embodiment of trauma, memory, and existential anxiety. Through minimal means and uncompromising honesty, Hore transforms fragile lines into a profound meditation on human suffering and resilience.
Somnath hore was the quintessential bengal artist deeply affected by the cataclysms that changed its history, such as the 1943 famine. a man-made crisis resulting in the death of two-three million people and the 1946 tebhaga peasant uprising.
A multifaceted artist who spent a lifetime exploring human suffering through his sketches, prints and sculptures, Somnath Hore was born in Chittagong in present-day Bangladesh in 1921.
Studying briefly at Government School of Art, Calcutta, in the mid-1940s, Hore trained under Zainul Abedin, and, later, under printmaker Saifuddin Ahmed. A participatory practice with fellow artists like Chittaprosad led to his intellectual growth. Hore’s early sketches were published in Janayuddha and People’s War, publications of the Communist Party; like many young men in the 1940s, Hore too joined the political party though he drifted away from it later.
Hore chose a distinctly formal, Western style of artmaking, distinguished by its strong linear quality, and guided by humanist concerns that foregrounded the indigent grappling with issues of survival. Distilled into iconic heads and emaciated bodies, his act of recovering the erased re-inscribed them into public memory. The anguished human form was reflected in Hore’s figuration through bold, minimal strokes enhanced by rough surfaces, slits and holes.
Over a thirty-year teaching career, Hore set up the printmaking department of Delhi Polytechnic in 1958. He joined Kala Bhavana, Santiniketan, as head of its printmaking department in 1968, where his own practice received a boost under the guidance of Ramkinkar Baij and Benodebehari Mukherjee.
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