Page 400 - Art and Crafts of Bangladesh

SECOND GENERATION ARTISTS 397

works of his early phase bear the
imprint of political influence. Mention
may be made of his painting of Ila
Mitra, Waiting for Tomorrow (oil,
1955) in this context (fig. 9.31). Due to
his political consciousness, life of the
common people became the subject
matter of his work. Shortly afterwards,
while in Florence his paintings
portrayed the common people he saw
in the streets, footpaths and shops.
However, a significant change
emerged in his works during his
Florence period. Gradually he
detracted from the three-dimensional
image and concentrated on
constructing a two-dimensional
pictorial plane; at the same time,
instead of the actual and logical
presentation of visual reality, his paintings took a poetic form rich in fig. 9.30 Hotel in
symbolic implications combining many scattered images. In his works of this period Buriganga, oil on
the forms represented objects or shapes constructed of unbroken outlines and there is plywood, 1953
simplification in the use of color and shape, as well. ‘His conscious effort is noticed
in constructing a strong structure on the picture plane and indicating different
directions of motion with these lines intersecting each other.’ [Trans.]
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In 1958, Murtaja Baseer formed an artists’ group named ‘Movimento Primordio’
(movement for primitivism) with Italian painter Rapisardi and sculptor Madonia. In
the first half of that year, they had a group exhibition in the city of Empoli, not far
from Florence and Murtaja Baseer had his first solo exhibition at La Parmanente
gallery of Florence.
Many critics have observed the integration of traditions of the east and west in Murtaja
Baseer’s works of the Florence period. Immediately afterwards, Pablo Picasso’s
influence is also observable in his notable oil paintings of 1959, Somnambular Ballad
and Music for Two Lovers. ‘Though the apparent influence of Pablo Picasso comes to
mind, Murtaja Baseer has been more inspired by Etruscan and fourteenth century
Italian drawings. However, his most favorite artist Picasso may well have remained in
his subconscious. Like Picasso, the figure of the solitary woman has repeatedly been
his subject. Scenes of local and European life, still life, etc. have appeared; in
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comparison, nature is much less noticeable as his subject.’ [Trans.]
After completing two-years of higher studies in Florence with his father’s financial
support, Murtaja Baseer set off for London to try his luck instead of returning home.