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This figure of a naked youth stands on his right leg, his face is contorted with pain as he holds his raised left leg, bent at the knee. The source of the pain, a small crab, lies next to his right foot. The Indian sculptor, Bose, achieved exceptional success during his short lifetime, although he first had to travel to Scotland where he also receive Welsh support. During the nineteenth century, Indian art students were mainly taught through indoctrinated academic western systems. After attending the Calcutta Art School, Bose left India aged sixteen to further his education. Having failed to secure a place at an Italian or London academy, he was eventually offered a place at the Board of Manufacturers School of Art in Edinburgh. Here, he won several awards including a travel scholarship that allowed him to visit Paris and meet Rodin. His outstanding talents were clearly recognised by his examiners, including the Welsh sculptor, William Goscombe John. John was a keen supporter of Bose and purchased from him, Boy in Pain and The Hunter (also in AC-NMW collection). In 1926, just as the continuing Indian campaign for independence was gaining momentum, Bose was elected to the Scottish Royal Academy. During his acceptance speech, Bose claimed his honour was “proof […] that the Scottish people had no intention of restricting the legitimate aspirations of the people of India.”

BOSE, Fanindra Nat
<p>This figure of a naked youth stands on his right leg, his face is contorted with pain as he holds his raised left leg, bent at the knee. The source of the pain, a small crab, lies next to his right foot. The Indian sculptor, Bose, achieved exceptional success during his short lifetime, although he first had to travel to Scotland where he also receive Welsh support. During the nineteenth century, Indian art students were mainly taught through indoctrinated academic western systems. After attending the Calcutta Art School, Bose left India aged sixteen to further his education. Having failed to secure a place at an Italian or London academy, he was eventually offered a place at the Board of Manufacturers School of Art in Edinburgh. Here, he won several awards including a travel scholarship that allowed him to visit Paris and meet Rodin. His outstanding talents were clearly recognised by his examiners, including the Welsh sculptor, William Goscombe John. John was a keen supporter of Bose and purchased from him, Boy in Pain and The Hunter (also in AC-NMW collection). In 1926, just as the continuing Indian campaign for independence was gaining momentum, Bose was elected to the Scottish Royal Academy. During his acceptance speech, Bose claimed his honour was “proof […] that the Scottish people had no intention of restricting the legitimate aspirations of the people of India.”</p>
Delwedd: Trwy ganiatâd Amgueddfa Cymru
  Chwyddo / Rhagor o ddelweddau (3)

This figure of a naked youth stands on his right leg, his face is contorted with pain as he holds his raised left leg, bent at the knee. The source of the pain, a small crab, lies next to his right foot. The Indian sculptor, Bose, achieved exceptional success during his short lifetime, although he first had to travel to Scotland where he also receive Welsh support. During the nineteenth century, Indian art students were mainly taught through indoctrinated academic western systems. After attending the Calcutta Art School, Bose left India aged sixteen to further his education. Having failed to secure a place at an Italian or London academy, he was eventually offered a place at the Board of Manufacturers School of Art in Edinburgh. Here, he won several awards including a travel scholarship that allowed him to visit Paris and meet Rodin. His outstanding talents were clearly recognised by his examiners, including the Welsh sculptor, William Goscombe John. John was a keen supporter of Bose and purchased from him, Boy in Pain and The Hunter (also in AC-NMW collection). In 1926, just as the continuing Indian campaign for independence was gaining momentum, Bose was elected to the Scottish Royal Academy. During his acceptance speech, Bose claimed his honour was “proof […] that the Scottish people had no intention of restricting the legitimate aspirations of the people of India.”


Mae'r wefan hon yn tynnu ar ddata casgliadau hŷn. Rydyn ni'n cydnabod y gall peth o'r wybodaeth fod wedi dyddio neu'n gwahaniaethu, ac yn gweithio i ddiweddaru ein cofnodion. Os oes gennych gwestiwn neu sylw ar ddarn o gelf, cysylltwch â ni.

Datganiad hawlfraint wedi'i ddarparu gan Amgueddfa Cymru

Manylion


Collection

Amgueddfa Cymru

Rhif yr Eitem

NMW A 287

Historical Associations

Association Type: Provenance

Creu/Cynhyrchu

BOSE, Fanindra Nat
d. 1926
Rôl: Artist
Cyfnod: 1913

Derbyniad

Gift, 21/11/1928

Mesuriadau

Uchder (cm): 26.2
Lled (cm): 13
Dyfnder (cm): 10.4
Uchder (cm): 3.2
Lled (cm): 8.1
Dyfnder (cm): 8.1
Uchder (in): 10
Lled (in): 5
Dyfnder (in): 4
Uchder (in): 1
Lled (in): 3
Dyfnder (in): 3

Techneg

Bronze on marble base
Techniques (sculpture)
Fine Art - sculpture

Deunydd

Bronze
Marble

Lleoliad

In store
Mwy

Tags


  • Anaf
  • Bachgen
  • Celf Gain
  • Cerflun
  • Gwryw Noeth, Dyn Noeth
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Rhannu


Mwy fel hyn


Amgueddfa Cymru
[No title]
JONES, David Golden Cockerel Press
(1926)
© Jonah Jones/Amgueddfa Cymru
Amgueddfa Cymru
<p>Cymro, ac aelod allweddol o’r mudiad cerflunio neo-glasurol oedd John Gibson. Mae’r gwaith anghyffredin yma yn dango menyw gref yn gwaedu – rhyfelwraig. Er bod y ffigwr wedi’i modelu ar y menywod a welai Gibson ar strydoedd Rhufain, gwelir adlais o’r trais a welodd yno hefyd a’i ofn o gael ei drywannu.</p>
GIBSON, John
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
JOHN, Sir William Goscombe
(1895)
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
<p>Figure of a boy on stilits. The boy wears a padded jump suit, woolen mask, plimsoles and gloves, all in black. Three knitted tubes, possibly sleeves from jumpers, inserted into one another and then padded creates a trunk-like appendage which covers and conceals the face. A metal bracket attached to the back of the figure slots into a receiver metal bracket secured to the wall.</p>
FORD, Laura
(2001)
© *********/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
JONES, David Golden Cockerel Press
(1926)
© Ystâd David Jones. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
JONES, David
(1929)
© Ystâd David Jones. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru
Amgueddfa Cymru
Y Bachgen o Sgowt
JOHN, Sir William Goscombe
(1910)
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.
Dish
Production: Wedgwood, Josiah, and Sons Ltd Bravi, Mirko
(1995)
Amgueddfa Cymru
[No title]
JONES, David
© Ystâd David Jones. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru
Amgueddfa Cymru
<p>Ym 1905 symudodd Jacob Epstein o Baris i Lundain, ac yno daeth i adnabod Augustus John. Ddwy flynedd yn ddiweddarach, gwnaeth ben efydd o Romilly John (g.1904), mab yr arlunydd. Mae'r cerflun grymus hwn o'r un pwnc yn dangos dylanwad cerflunio Cyntefig ac Eric Gill, a gerfiodd yr arysgrif ROM ar ei waelod. Ym 1911 disgrifiodd Epstein Rom fel 'y Plentyn Bythol, un o'r ffigyrau ymyl mewn grŵp yn dyrchafu Dyn a Dynes, o gwmpas creirfa ganolog...fel teml fawr'.</p>
EPSTEIN, Jacob
(1910)
© Ystâd Sir Jacob Epstein/Tate/Amgueddfa Cymru
Amgueddfa Cymru
Dynion gyda Phowlen
GAUDIER-BRZESKA, Henri
(1914)
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.
[No title]
JOHN, Sir William Goscombe
Amgueddfa Cymru
[No title]
HAYES, Edwin
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
du MAURIER, G.L.P.B.
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
PARKER, A. Miller
© A. Miller Parker/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
Photographer: ZACHMANN Patrick
(1984)
© DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
(1978-1979)
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
HOWARD-JONES, Ray
(1950 ca)
© Nicola Howard-Jones/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
HOWARD-JONES, Ray
© Nicola Howard-Jones/Amgueddfa Cymru

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