'79 Graphics': Bringing back the beauty of lithography

Those who have heard about 'Lithography', would know it is no short of one of Hercules' 12 tasks – hyperbolically speaking. Invented in 1798, a great number of lithograph-artworks still exist from the era. But the arduous process of lithography and modern-day art-techniques have diminished the appeal of this art form.

The same can be said about hyperrealistic art forms from the 15th, 17th and 18th century, like the Renaissance, Baroque and Rococo respectively, with the advent of photography. No one needs to painstakingly create a hyperreal Monarch or Duchess posing for one painting that takes months to create. Just like that, modern-day computer-aided painting and/or printing has (almost) killed lithography from what it "originally" was.

Yet, there are some artists out there who are braving this art form and creating absolute masterpieces. Last Friday, 11 August, I went to one such exhibition that was everything lithograph. Featuring 79 curated artworks of printmaker Kamruzzaman Sagar, an art exhibition entitled '79 Graphics' is going on at Galleri Kaya in Uttara. Sagar's second solo art exhibition goes on till 25 August. He currently takes lithography classes at Charukala, Department of Printmaking.

Photo: Courtesy

What is lithography to the layman? A hand-drawn painting etched on a heavy limestone slab. Chemical is laid on the etching and then the slab is pressed using extreme pressure on a paper. This may not sound too daunting. But Sagar would differ. His litho-printings range roughly from squash-sized orbs to 4' by 3' gigantic ones. 

"I had to use 19 separate plates to paint 'Complexity of Nature'; as I did for a lot of the other artworks you see here," Sagar said. "But for 'Burning Forest' I needed only four plates, using the CMYK (Cyan, Magenta, Yellow and Key [Black]) palettes." Nineteen plates or four, all his prints looked equally beautiful with all their intricacies. 

Sagar's art harmoniously combines surrealist influence with geometry and nature. His pieces captivate with perspective, symmetry, and meticulous detailing, evoking prolonged contemplation. Diverse inspirations beyond Dali contribute to his distinct surrealist style.

Only a few of his recent prints were made using the CMYK palette, beginning in 2019. Prior to that, each print had to be made using 19 plates where each painting had to be drawn on each, with slight variations to give the final print its proper depth of field. 

However, modern litho printmakers use aluminium plates. Almost all of Sagar's prints were made using metal plates, but he still wishes he could print using traditional techniques. 

Photo: Courtesy

"I've been working with this media for 22 years now, since my days as an art student at Charukala," informed the printmaker. "I fell in love with this form as my exact painting translates on paper, whereas with other litho media like etching or woodcutting, the final print looks very different."

At Charukala, authentic lithography is taught – using limestone. However, sourcing such stone slabs outside of Charukala is a feat. Assamese Professor Adit Shil came from Shanti Niketan to conduct a workshop around 2011. Sagar worked with him part-time and learnt through him that aluminium plates were a fine alternative to limestone. He felt at ease hearing this.

"There are four prints here done with stone lithography but you can't tell the difference. But the amount of physical labour is the same with both," he explained. 

"But I'm still trying to source a couple limestones. My studio will feel more complete and I want to work on it for as long as I'm healthy. You can't possibly imagine how physically demanding litho printmaking is," Sagar said.

TBS Picks

Burning Forest | Lithograph on paper

The 2017 Australian wildfire resulted in numerous animal deaths, some mummified amid burning trees, their charred, wrinkled skin reflecting the tragedy. Birds' nests and a deer in smoke and fire depict a harrowing scene, like right now in Maui. 'Burning Forest' portrays the impact of these incidents of global warming, using four plates and the CMYK palette.

Complex | Lithograph on paper

At the time of painting 'Complexity', I wanted to explore figurative drawings. All my figurative paintings are based on female anatomy. As a male, I had an attraction to female anatomy. But the anatomy is complex: it looks different from every which way. 

Complexity of Nature | Lithograph on paper

Before I learnt to apply the CMYK palette, I had to hand-paint on 19 plates to make each print. 'Complexity of Nature' was one of them. My paintings are about three things – realism, unrealism and surrealism; this print explores all that, as all these aspects are present in nature. We just need to want to see each separately.