Jean-Pierre Tingaud: French print-maker nonpareil

Jean-Pierre Tingaud

Andre Raynouard, French Counsellor for Cooperation and Cultural Affairs, said: 'France has been connected with Bangladesh for a long time. This is due to the friendly ambience created by the Alliance Francaise (at Dhaka and Chittagong) and personal help and interest of artists like Shahabuddin and Shahadat Hussain. Thus there are two artistic communities of the two countries aspiring for the same goal. The three day programme that follows this function at Alliance Francaise has been done with the help of senior Bangladeshi artists like Mahmudul Haque, who currently heads the National Museum, and once headed the Fine Arts Institute, DU, along with Jean-Pierre Tingaud, who came for a workshop in 2002.

'The final exhibit is like some PR work to show what the artists in Bangladesh and France can do. This plays an important part in cultural exchanges and ensuing dialogue which carries vital importance. Eventually, in France, there will be an exhibition of the works of 20 Bangladeshi artists; and will be held from June 5 to June 25 this year.'

Denise Frelaut, who had come for Tingaud's press conference, said, 'This exhibition is an exceptional one for such a display has taken place only in Japan and now in Bangladesh', referring to the exhibit, called A French April held at Alliance Francaise on April 6. This is a permanent interaction between the artist and the viewers -- artists working with their hands and the onlookers. The print making techniques will surely fascinate the art lovers.

Andre Raynouard continued, dwelling on the exhibit A French April, which comprises of two other art shows. The Bangladeshi and French artists must understand and respect their mutual works. There should be an ambiance for understanding and disseminating artistic knowledge between the artists of the two countries.

Questioned by the press, Andre Raynourd said, 'The overseas art gallery is a big business. It is a must for the French and Bangladeshi artists to understand each other and continue to work collectively and in perfect harmony. There is definitely money involved in art displays.'

Denise Frelaut, answering another questing from the press said, 'We are here not to sell but to show our work. Our paintings are not for sale; the lithographs seen on the corridors at Alliance Francaise range from Euro $100 to Euro $1000 (taking two samples).'

Andre Raynouard added, 'Some of the prices that you will see in Bangladesh, considering the prices that range from Mahmudul Haque's prints (Tk 20,000) to Sultan's oil paintings (astronomical amounts, which come to lakhs of takas) are sold quite often at Dhaka. There is a market for art works of steep prices in Bangladesh. What is required is a better promotion of the works of Bangladeshi artist overseas, specially the young ones. Abdus Shakoor, for example, is easily sold abroad. Agents take matter in their hands and embassies organise exhibits, which are not just presentation of cultural visions and ideas but commercial products too.'

Andre Raynouard elaborated, 'You may ask why we have gone into a show of print making. This is because they are important from the point of the entire history of art. The result of Jean-Pierre Tingaud's exhibit at Shilpangan and the ones to be seen at Alliance Francaise are endeavours over three years. We hope that the artists of the two countries are able to compare and contrast their works. The Bangladeshis can buy the original paintings and prints in their original forms. So, a market of original prints of quality may open. Mohammed Kibria's prints maybe finally bought by some Bangladeshi buyer, and may eventually change and help the life of the individual.'

Concluding the conference, by Andre Raynouard by saying, 'France has initiated a debate on the need for cultural diversity, last year. This was at an international level; Bangladesh was pushing this issue at the overseas forum.

At Shilpangan, the French Ambassador, Michel Lummaux, opening Tingaud's exhibition, said that after his workshop at Dhaka in 2002, Tingaud returns once more to the capital city. This exhibition, a part of wider event, A French April, which will be eventually complemented by the presentation of works by 20 Bangladeshi artist at the Lacouriere and Frelaut studio and gallery, in Paris in 2004.

Among Tingaud's works on display presently, one finds, Priere pour Gaia which is a black and white creation of superb dexterity. This is apparently combined with a romantic imagination as one studies the dramatic and brilliant piece. Like all the other prints, this has been done with the subtlety of that of a goldsmith. This is because Tingaud works on a metal sheet which he works on with a sharp metal. The images are superb and each bit is interesting and informative. The final impact is like some photograph a dramatic black and white one which has been in vogue in the West since the last 20 years. The details of the vast print include geometrical and figurative details which include clouds, angels, dancing people, angles and four sunbursts at four ends of the print.

Portique de Gaia is another such mysterious miracle. It has 16 portions divided by pristine white lines and slabs. The central image is that of tree seen against a setting sun. The other surrounding images and scenes are equally fascinating and worth standing and staring at. Placed above the superb details of the print is a horizontal bar which has more intriguing and informative details worth pondering about.

More lyrical and flamboyant than all the other prints is perhaps Psaume A. This, yet again, contains massive geometrical forms containing more details in a lyrical yet incisive detail. The final impact is that of a figure languishing on a cross. Nothing could be more enchanting for one who studies prints whenever possible and probable.