An exhibition of Jamini Roy’s paintings in Kolkata is involved in a controversy after a group of artists claimed that the artworks displayed at the exhibition were not original works.
Art collector, Kamal Parekh organised a unique exhibition at his art gallery, Middleton Art Gallery in Kolkatta. The exhibition ran from February 14 to 28, 2024 and showcased 45 paintings by Jamini Roy.
The fortnight-long exhibition has faced criticism and claims of forgery from several Bengali artists and experts. The group is sceptical about the authenticity of these works and has filed a complaint with the Park Street Police Station. They argue that the artworks do not bear Roy’s signature style, raising doubts about their origin. They have further prompted calls for an examination by the Archaeological Survey of India (ASI). Jamini Roy’s paintings are protected by ASI and declared a national treasure in 1976.
Who is Jamini Roy?
Jamini Roy (1887–1972) was a renowned Indian artist known for his pioneering efforts in blending traditional Indian folk art with modernist influences. Born in Beliatore, West Bengal, Roy trained in the traditional style of academic painting at the Government College of Art in Kolkata. However, he later broke away from this academic style and turned towards the indigenous art forms of Bengal, particularly the Kalighat style of painting.
Roy gained recognition both in India and internationally for his unique artistic vision and contribution to the Indian art scene.
Claim of fake paintings
The complainants who have expressed concerns regarding the authenticity of the Kamal Parekh collection are highly esteemed names in the field. They found the opening day of the exhibition peculiar as none of the renowned personalities from Kolkata’s art circles were invited.
Pranab Ranjan Ray, an art scholar, remarked, “It’s a new gallery, and there were no invitations or catalogues featuring all the exhibited works.”
Ray further said, “These artworks are against the character of Jamini Roy’s patterns. We had not seen such a type of work. Because of this, we are demanding that the Archaeological Survey of India examine these pictures and find out whether they are the original works of Jamini Roy.”
Artist Hiran Mitra said, “After seeing these artworks, we think that these are all synthetic works. Let the Archeological Survey of India check these pictures.”
Furthermore, art critics and artists in Kolkata have raised doubts about the legitimacy of the individuals identified as curators of the exhibition, Oiendrila Ray Kapur and Kounteya Sinha. They have questioned Kapur and Sinha’s credibility and academic background in art. They expressed their astonishment over the fact that despite their lack of recognition within the art community, these individuals have managed to curate works by some of India’s most renowned artists.
Artist and art professor at Rabindra Bharati University, Paula Sengupta, also advocated for an art audit of the paintings. Sengupta highlighted information discrepancies, particularly questioning the origins of Parekh’s paintings. According to her, Parekh claimed to have purchased them from an art exhibition held at Kolkata’s Oberoi Grand Hotel in 1993. However, when Sengupta attempted to verify this by researching newspaper reviews of the exhibition and hotel records, she found no relevant information.
Opposing arguments
In his defence, Parekh said, “I have collected two paintings by Jamini Roy from the Grand Hotel exhibition in 1993. I have the authentication and affidavit of each photo. No picture is fake. I will not sell these pictures. They are kept for exhibition only. I have 80 to 90 paintings by Jamini Roy… Some of the artists may be angry and therefore have said it.”
Arkamitra Roy, the great-granddaughter of Jamini Roy and also an art dealer, dismisses the allegations as a deliberate attempt to tarnish her family’s reputation. According to her Kamal Parekh has been buying paintings from her family since 1993. She explains that Jamini Roy distributed about 300 of his artworks among his five children. These were later inherited by the next generation including her mother Sanghamitra, who is his granddaughter. She further clarifies that the paintings being sold by her family have been inherited legitimately and have been in their possession for decades.
In her statement, she said, “They are attempting to cause problems for Mr. Parekh simply because he is an outsider, a newcomer who has rapidly made a mark in the art world. Their resentment stems from feeling slighted by his sudden emergence without consulting them. If their concern truly lay with counterfeit artworks, they would have spoken out against the prevalence of fakes being sold regularly. However, they have remained silent on this issue. I am puzzled by the identities of those defaming Mr. Parekh and our family,” reported the Print.
The sole expert who attended the exhibition was an art collector named Nirmalya Kumar based in Singapore and formerly associated with Tata Sons. He stated in an interview that he owns several artworks byJamini Roy at his London residence. Regarding the art showcased at Middleton Art Gallery, he said, “I wouldn’t have stayed for more than two minutes if there was even a single counterfeit piece.”
This controversy beckons to a deeper issue in the indian art market of certification and authenticity. It lacks proper systems for authenticating and certifying genuine artworks, despite the burgeoning art market in the country. This has caused the proliferation of counterfeit pieces, causing distress to all involved.