essay on meera mukherjee Fisher art
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Meera Mukherjee (1923–1998) was an Indian sculptor[1] and writer, known for bringing modernity to the ancient Bengali sculpting art.[2] She is known to have used innovative bronze casting techniques, improving the Dhokra method employing Lost-wax casting, which she learnt during her training days of the Bastar sculpting tradition of Chhattisgarh.[2] She received the fourth highest civilian award of the Padma Shri from the Government of India in 1992 for her contributions to Arts.Meera Mukherjee, born in Kolkata to Dwijendramohan Mukherjee and Binapani Devi in 1923, had her initial training in Arts at the Indian Society of Oriental Art of Abanindranath Tagore where she stayed till her marriage in 1941.[4] The marriage was short-lived and Mukherjee, after the divorce, resumed her art studies by joining the Government College of Art and Craft, Kolkata and the Delhi Polytechnic, Delhi (present day Delhi Technological University)[5] and secured diploma in painting, graphics and sculpture.[6] Later, she assisted Affandi, an Indonesian artist, during his visit to Shantiniketan in 1951.[7] Following here first solo exhibition in 1952, she received an Indo-German Fellowship in 1953 to hone her skills at the Academy of Fine Arts, Munich. [7] This gave her opportunities to work under Toni Stadler and Heinrich Kirchner. It was the former who supported Mukherjee's transition from a painter to a sculptor.[8] She returned to India in 1957 and took up the job as an art teacher at Dowhill School, Kurseong where she stayed till 1959.