Celebrating the life and times of Murtaja Baseer

Visiting an exhibition and returning only to say to yourself something along the lines of "there wasn't one single outstanding piece" would probably come off supremely dismissive, bordering on the negative. Yesterday's visit to Galleri Kaya left me with a similar takeaway; however, it wasn't one with a negative connotation. 

Allow me to explain.

'Celebrating Murtaja Baseer' not only displays a myriad of artworks left behind by the artist. If you walk around the entire gallery, you'd find facets of his other fascinations that go far beyond the canvas. You have his books—not just the ones on his works or his exhibitions, but his own literary adventures, which include screenplays as well. 

In one corner stood a room devoted to his stamp collection and a couple of other hobbies, while another displayed letters he had written and received over the years. A separate space showcased photographs from different stages of his life—photos with family, images beside his own 20th-century paintings, and clicks with fellow eminent artists of the era. Adding to this, several installations featured the sculpted "face forms" he had carved and chiseled himself.

That's why it's hard to point to a single standout work—because the exhibition captured every dimension of the artist's being, making it unfair to elevate one piece above the rest.

"He was a man who had many phases, many fascinations," said artist and Galleri Kaya founder Goutam Chakraborty.  And all aspects of the great artist are on full display in the exhibition, which runs till the final day of August.

Murtaja Baseer's body of work reflects remarkable versatility, shifting seamlessly between abstraction, portraiture, and other stylistic explorations. Among the pieces displayed were striking black-and-white prints, some portraying figures in anguish, raised banners, and bodies caught in turmoil. The roughness of the carving, combined with sharp contrasts and jagged lines, powerfully conveys the harsh realities of conflict.  

Alongside these, several linear portraits are there—likely from a period when the artist was engaging with this particular form. These drawings showcase Baseer's masterful use of line, where just a handful of strokes capture both resemblance and character. The minimalism of the portraits directs attention to expression, highlighting his ability to balance simplicity with emotional depth.  

Interestingly, Goutam shared that he and Baseer often discussed the presence of abstraction in the artist's works, though Baseer himself would deny it. Yet, the exhibition also featured pieces that leaned clearly toward abstraction, though rendered with a more fragmented and turbulent energy. 

In these works, scattered shapes and spectral textures instil a sense of disintegration, as though documenting the aftermath of devastation. Through such abstraction, Baseer blends experimentation with narrative, creating works that are simultaneously unsettling and deeply thought-provoking.  

Returning to Baseer's personal hobbies, one corner room vividly reflects his determination to preserve the things that fascinated him. At its center stands a wooden block showcasing an array of foreign currencies he gathered over the years—some gifted to him, others collected during his own travels abroad.

Until the final days of his life, Murtaja Baseer remained devoted to his lifelong passion for stamp collecting. One of his biographers recalled how, as a child, he would carefully remove stamps from letters sent to his father, the noted scholar Dr Muhammad Shahidullah. What began as an innocent pastime soon grew into an earnest pursuit that stayed with him into adulthood.

Baseer organised his collection both by country and by theme. His stamps spanned regions such as British India, Pakistan, Bangladesh, India, Burma, Nepal, Bhutan, Sri Lanka, Hong Kong, China, the Soviet Union, the UK, France, Italy, and the United States. 

Thematic highlights included animals, insects, space, art, and Lenin, with Picasso's artwork stamps among the treasures on display. It should also be said that the room boasts a number of key chains and coins from all over the world. 

"He had a collector's mind and a fascination when it came to history," concluded Goutam.

'Celebrating Murtaja Baseer' runs at Uttara's Galleri Kaya till 31 August.

TBS Picks

My Room

Medium: Ink on paper

Created in 1956, likely during Baseer's student years in Florence, this minimalist painting portrays what may have been his own room. With delicate, precise lines, he captures everyday objects, instilling a sense of calm and simplicity. The sparse detailing and soft tones emphasise modest living, introspection, and the quiet charm of ordinary life, turning a simple room into a moving reflection of comfort and personal memory.

Colour Palette 13

Medium: Mixed media on board

The artist also had a fascination with collecting color palettes. This particular piece presents an abstract composition, built with textured layers of green, red, yellow, and black. Bold, heavy brushstrokes and the thick application of paint give the work a dynamic quality, evoking energy and movement through its almost chaotic rhythm.

Image 9

Medium: Aquatint and dry point

The piece balances organic curves and geometric lines, offering an abstract narrative that invites reflection. The monochromatic palette emphasises the textures and contrasts, making the work visually striking. It showcases the artist's mastery of printmaking techniques, blending precision with expressive abstraction.