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Kiron Sinha (Bengali কিরন সিনহা) (4 March 1916 – 5 December 2009) was an Indian painter and sculptor and a member of the Santiniketan School.[1]

Kiron Sinha
কিরন সিনহা
Born(1916-03-04)March 4, 1916
Khalapara, Netrokona, Bengal Presidency, British India
DiedDecember 5, 2009(2009-12-05) (aged 93)
Santiniketan, West Bengal, India
CitizenshipIndian
EducationMatriculated from Baradi High School & College, 1933 Diploma in Fine Arts, Kala Bhavana, Santiniketan, 1938
OccupationArtist
Known forPainting, sculpture, murals, sketching
SpouseGertrude Sinha Hirsch (married 1939)
ChildrenKamona Sinha (Bulbul)
Parent(s)Umesh Chandra Sinha Chaudhury (father), Niraja Devi (mother)

Early life

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Kiron Sinha (Bengali: কিরন সিনহা), born on 4 March 1916, was the fourth of five children born to Umesh Chandra Sinha Chaudhury and Niraja Devi. He was born in Khalapara, Netrokona District, Bengal[2] (now Bangladesh). The family was Orthodox Hindu. His father was a school teacher and his mother was a folk artist.[3][4] Sinha’s talent for drawing was displayed at a young age and was fostered by both his parents, and Sinha considered his mother to be his first art teacher.[4][5][6] When Sinha was around twelve, his mother died of cholera. This event had a huge impact on his life and in later years he would dedicate many of his artworks to his mother’s memory. Indeed, the concept of motherhood figures in his later work and in dedications both to his mother and his wife as a mother.[6]

In June 1933 Sinha matriculated from Baradi High School & College.[6]

Student at Kala Bhavana, Santiniketan

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One month after matriculation, with his father’s encouragement and support, Sinha was admitted to Kala Bhavana, the art department of Visva Bharati in Santiniketan, to refine his artistic talents and learn new skills. Whilst there he studied under artists including  Nandalal Bose, Ramkinkar Baij, Surendranath Kar, and Benode Behari Mukherjee.[7] In 1933, with Ramkinkar and other students, Sinha sculpted figures onto the walls of the university buildings ‘Shyamali’ and ‘Kalabari'.[5] He flourished in his new environment and remembered his work being singled out by Rabinranath Tagore on a visit to the institution to view the work of students in 1934.[4]

In 1937 Sinha was granted a Sino-Indian Cultural Scholarship by Tan Yun-Shan and Nandalal Bose to travel to Nanjing, China to study Chinese classical painting[1][3][5][8][9] as a scholar of Sun Yat Sen University.[7] He went with Rabindranth Tagore’s signed documents, blessings, and a travel allowance.[8] However, within six months of his visit, the Second Sino-Japanese War broke out, forcing Sinha to hastily return to India by September of that year.[4][5]

By April 1938, Sinha had been awarded the Visva-Bharati Diploma.[10]

South India, Rajasthan, Lahore, Santiniketan

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Upon his return to India in early 1938, Sinha was employed as an art teacher[11] at Rukmini Devi's institution, Kalakshetra.[5][12] In 1939 he was appointed art master at Vidyodaya Schools. During his tenure there, he designed costumes for school performances, as well as the School Crest that is still used today.[6][13]

Whilst at Kalakshetra, Sinha met Vienna-born artist and art teacher Gertrude Hirsch (15 June 1911 – 5 September 2011), who was teaching at the Annie Besant Memorial School.[4][6] The couple married in June 1939, in defiance of Kiron’s father’s objections, but with the blessing of Rabindranath Tagore.[6]

In 1941 Sinha left teaching to work as a full-time independent artist.[5][6][8] During this time he painted “South Indian Restaurant”, “Collecting Mushrooms”, “Gallery Tamil Women”, “Catching Sea Crabs”, and “Third Class Passengers”.[6][14] From February to April 1942 he collaborated with Gertrude Sinha Hirsch to produce a pair of murals for the Students’ Common Room in the Women’s Christian College, Chennai.[15][16] They are still there today.[6]

Whilst Sinha continued to work independently as an artist, Gertrude worked at many jobs around India to support Sinha’s career.[6][12][15] At each location Kiron followed his wife and recorded aspects of the environment and daily life.[6] However, Gertrude was not only his wife and key financial supporter, Sinha declared that he regarded her as his most significant artistic influence[4] and was “my inspiration, my muse, my most important teacher and the love of my life”.[6]

In early 1943 the couple worked, painted, and travelled in Rajasthan.[8][12] Here, Sinha painted “Jodhpur Women” and “Udaipur Women”.[6] By January 1944 they were living in Lahore, where Gertrude had taken up a position as Lecturer of Art at the University of Panjab’s Fine Arts Department.[5][12][17] In Lahore, Sinha painted “Old Mali”[14] and “Monsoon Canal”.[6]

The couple’s first and only child, Kamona (nicknamed Bulbul), was born in June 1945 in Mussoorie. This event prompted the new family to settle down and they purchased land in Santiniketan in 1947.[4][5][8] For the first two years of Kamona’s life, Sinha and Gertrude shifted between Lahore and Santiniketan as Gertrude remained in her job and Sinha started designing and building the house in Santiniketan.

In 1946, Sinha was elected an 'Ordinary Member' of Visva-Bharati.[18]

Shillong

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The couple lived in Shillong, Assam (now Meghalaya) from 1949 to 1951 while Gertrude held her government-funded post as Industrial Art Expert working under Thomas Hayley, Secretary and Director of Rural Development to the Government of Assam.[6][12] During this time the couple met local artist Asu Dev and his wife, Bela, and a strong and enduring friendship developed.[19] The artists collaborated on projects, including the design and production of woodblocks.[20] After Sinha and Gertrude settled in Santiniketan they continued to design and carve woodblocks for many years and Gertrude used them to produce highly sought-after printed textiles; wall hangings, housewares, and clothing.[21][22][23][24][25][26][27]

Santiniketan – 1950s and 1960s

[edit]

By mid-1951 the family returned to Santiniketan where they remained residents for the rest of their lives.

During the 1950s and 1960s, Sinha had a prolific output and held many exhibitions including in Delhi, Calcutta, Lucknow, and Australia.[6] It was at one of these exhibitions in the early 1950s that Gertrude met Indira Gandhi and befriended her.[28] Indira Gandhi became an admirer of Sinha's paintings and Gertrude’s hand-printed textiles and purchased many works, which she displayed in public offices and were given to foreign visitors and dignitaries.[3][6][15] She also inaugurated Sinha's exhibition at the Freemason’s Hall in 1952.[29]

Inspired by the colossal works of his teacher and mentor Ramkinkar Baij, Sinha further developed and refined the technique for sculpture in cement, sometimes adding coloured oxides.[6] The first of these works, “Santal Couple with Dog” was executed in his garden in Santiniketan. It was completed in 1952 and, 2.3 metres tall, is larger than life. Throughout his life, Sinha completed at least 50 more of these large-scale sculptures.[6]

In the late 1950s, Sinha met the young student A. Ramachandran, to whom he became somewhat of a “guide” and “sobering influence”[30] – they would have rich conversations about art and art movements.[30] Sinha introduced Ramachandran to oils – then contrary to the teachings of Kala Bhavana, which only offered watercolours and tempera.[31] A. Ramachandran would sometimes join Sinha on one of his many forays into the Birbhum villages where he would paint and sketch the landscapes and the Santal people – at life, and at work.[6][32]

In 1957, Shantanu Ukil visited Santiniketan and met Sinha. Sinha's neo-Impressionistic style, studies of the Santal people, and palette of bold colours inspired Shantanu and his work.[33]

Naggar – 1960s

[edit]

In 1962 Sinha was introduced to M. S. Randhawa. Randhawa admired Sinha’s work, particularly his documentation of local people, and so he suggested that Sinha spend time in the Kulu and Kangra valleys, where he could record the landscape and people. In the mid-1960s, Sinha built a house in Naggar and the family stayed there many times until the late 1960s. It was in Naggar that the family developed a  friendship with the Russian painter Svetoslav Roerich and his wife Devika Rani. The time in the Kulu Valley was a prolific one for Sinha and works from that time were purchased by Randhawa for the Government Museum and Art Gallery, Chandigarh, whilst others were purchased by the Birla Academy of Art and Culture, Kolkata.[6]

Work at Silpa Sadana

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In 1968 Sinha was employed by Visva Bharati as a designer and teacher at Silpa Sadana, Sriniketan, in the development of craft-based art.[5][6][8][28] Here he worked predominantly designing ceramics and textiles.[4] He worked closely with a colleague, a Japanese ceramicist, to produce thrown vessels to Kiron’s designs that he subsequently decorated.[4]

Patron

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Leo Hirsch, Gertrude’s only sibling, had emigrated to Adelaide, Australia, in 1939. Leo and Gertrude corresponded regularly and Leo provided Sinha with painting materials for decades and did his best to promote Sinha’s work in Australia.[15]

Death of Kamona (Bulbul)

[edit]

In 1972 Kiron Sinha and Gertrude’s only daughter, Kamona (Bulbul) died in an accident. Over the next few years Sinha produced a series of deeply emotional paintings depicting Bulbul in the spirit world and his own grief at her loss, including “Bulbul Playing the Mouth Organ in a Tree”, “Bulbul Passing to the Spirit World”, “Spirit of Kamona” and “Grieving Father”.[6]

Following this major event, Sinha's work entered a new phase of exploration that examined Lila, the divine play of Krishna, where he depicts Radha and the gopis.[4][5][6]

Later years and death

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Kiron Sinha, aged 72 at his Santiniketan Studio with his painting "Monsoon Melody". Photo by Robert Hirsch, copyright BulbulArt

Coupled with the tragic event of losing his only daughter was Sinha's increasingly deteriorating  eyesight from the mid-1970s onwards.[7] During this time the couple had virtually no income and lived in poverty. He turned to painting on chattis (woven date palm mats) as they were cheaper than canvas.[4][5] By the late 1980s Sinha could only see light and shade, and he was completely blind by the late 1990s.[6]

In the early 1980s he gave up painting and turned to sculpture and friezes in cement as a response to his blindness, describing that he could “see” with his hands.[4][7] Most of these late sculptures were more than life size, featured Bulbul’s face, and were dedicated to her, or to Gertrude as Bulbul’s mother.[6]

Their poverty and Sinha's blindness caused the ageing couple to become more and more reclusive.[6] This was compounded by a violent burglary on 17 September 1980 where Gertrude was badly hurt and paintings were damaged,[6] and another on 25 August 2005 where at least 18 paintings were stolen.

In their final years, both Kiron Sinha and Gertrude led private lives and did not leave their compound. They were brought food and were cared for by local people until their deaths.[4][6]

Sinha continued to sculpt small hand-sized pieces from cement and oxides almost until the day he died.[6]

Kiron Sinha died in Santiniketan on the 5th December 2009.[6]

Legacy and impact

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Kiron Sinha produced a substantial body of plein-air work in rural West Bengal and in other parts of India where the couple lived. These works depict the everyday life of village people in the context of their homes, workplaces, and farms, and they represent a visual record of everyday life in the first half of the 20th century in India.[1][9][32][34]

Kiron Sinha's interest in folk art lasted throughout his life and many of his works across the decades explore these themes.[1][4]

Kiron Sinha’s works are found in the collections of the Birla Academy of Art and Culture, Delhi Art Gallery,[6] Government Museum and Art Gallery, Chandigarh, The Prime Ministers' Museum and Library Society,[15][35] and Visva-Bharati University. In addition to public galleries, his works are held in private and government collections in Australia, India, the UK, Spain, the US, Switzerland, Sweden, Russia, Indonesia, and Germany.[3][6][36] Many of these works were gifts from the Government of India to the governments of other countries.[1] One sculpture is on public display in Sriniketan, West Bengal, although his signature on it is no longer visible.[6] The three houses he designed and built still stand in Santiniketan and Naggar.[6]

List of exhibitions

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Date Place Exhibition Title Comments
January 1944 Mumbai Bombay Art Society Annual Exhibition[37]
December 1950 New Delhi Exhibition of hand printed textiles with designs from folk and tribal art Opened by Indira Gandhi[22]
21–27 October 1951 Institute of Foreign Languages, Davidco’s, New Delhi[25] Kiron and Gertrude Sinha: Paintings and Textiles Opened by Toyberg Frandzen, the Danish Minister to India[23][24]
15–26 July 1952 Society of Arts Gallery Institute Building, Adelaide Australia[38] Contemporary Art Society Adelaide Annual Exhibition[39] Opened by A. N. Jeffares[38]

Group Exhibition. A number of Kiron’s works shown.

1–17 July 1952 Sydney Contemporary Art Society Fourteenth Annual Interstate Exhibition[40] Two of Sinha's works were shown.
17–21 December 1952 Freemason's Hall, New Delhi Kiron and Gertrude Sinha: Paintings and Textiles[29] Inaugurated by Indira Gandhi[27]
22–27 October 1953 No 1 Chowinghee Tce, Kolkata Kiron and Gertrude Sinha: Paintings and Textiles[41]
3–9 December 1953 All India Fine Arts and Crafts Society, New Delhi Paintings by Kiron Sinha Inaugurated by E W. Meyer, German Ambassador[42]
16 June – 17 October 1954 India Pavilion, Central Pavilion (Room 39), Giardini, Venice Venice Biennale[43]
March 1955 Jaipur House, New Delhi Lalit Kala Akademi, First National Exhibition of Art Inaugurated by Rajendra Prasad[44]
17-15 December 1955 All India Fine Arts and Crafts Society, New Delhi An exhibition of paintings and textiles alongside A. A. Raiba[45][46]
1956 New Delhi Exhibition opened by Lorraine Rowan Shevlin (wife of Sherman Cooper, the US Ambassador to India).[28]
January 1956 Jaipur House, New Delhi Lalit Kala Akademi National Exhibition of Art Opened by Dr Rajendra Prasad, President of the Indian Union[47]
16–18 November 1956 Bulbul Art Gallery, Santiniketan Opened by Visva Bharati, Satyendra Nath Bose[48]
8-16 November 1958 All India Fine Arts and Craft Society, New Delhi Saga on the Santals: Exhibition of Kiron Sinha’s paintings and textiles by Gertrude Sinha Opened by Humayun Kabir, Union Minister for Scientific Research and Culture[49][50]
14 May – 30 September 1959 Villa Hügel, Essen, Germany 5000 Jahre Kunst in Indien[51]
4–10 February 1961 Academy of Fine Arts, Kolkata Saga on the Santhals[52]
23 September – 6 October 1963 Argus Gallery, Melbourne, Australia Saga on the Santals Opened by JS Bloomfield, Minister for Education, in the presence of the Maharajah of Mysore, Jayachamarajendra Wadiyar[53][54][55]
15–25 October 1963 Dominion Art Galleries, Sydney, Australia Saga on the Santals[56][57] Opened by Sri G. L. Puri, Indian Trade Commissioner
1–7 October 1964 All India Fine Arts and Crafts Society, New Delhi[58]
1965 Lucknow Opened by Chief Minister Sucheta Kriplani[59]
16-22 January 1967 Academy of Fine Arts, Kolkata The Call of the Himalayas
7-12 November 1968 Alliance Francaise, Kolkata[60]
1973 Max Mueller Bhavan, Kolkata
26 September – 1 October 1989 Birla Academy of Art and Culture, Kolkata Artists who Care for Children One painting of Sinha's was exhibited in this group exhibition
11–13 October 1996 Devlalikar Kala Veethika, Indore Hintaal: Retrospective of Kiron Sinha[61]
11 February – 26 March 2023 Delhi Art Gallery, Janpath, New Delhi Iconic Masterpieces of Indian Modern Art Edition 2[6]

References

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  1. ^ a b c d e Gurtu, Sachirani (1969). कला के प्रणेता [Pioneers of Art]. Bombay: India Publishing House. pp. 183–185. Retrieved 20 March 2025 – via Internet Archive.
  2. ^ Sinha, Gertrude (1987) ‘Letter to the Editor: Kiran Sinha's Art', The Telegraph: Kolkata, 19 July 1987
  3. ^ a b c d Artists Directory. New Delhi, India: Lalit Kala Akademi. 1961. Retrieved 19 March 2025.
  4. ^ a b c d e f g h i j k l m n Blewett, Verna (2018). "The artist with a difference: Finding Kiron Sinha" (PDF). The Statesman. Vol. Festival Issue. Kolkata, India. pp. 6–14. Retrieved 19 March 2025 – via BulbulArt.
  5. ^ a b c d e f g h i j k Chattopadhyay, Purnanda (1981). "প্রধানমন্ত্রী যে-উপেক্ষিত শিল্পীর বাড়ি যাবেন" [The unacclaimed artist's house that the Prime Minister will visit]. Ananda Bazar Patrika (in Bengali). Santiniketan, India (published 8 December 1981).
  6. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj Hirsch, Lily; Blewett, Verna (2023). "Kiron Sinha: Encountering a Friend". In Singh, Kishore (ed.). Iconic Masterpieces of Indian Modern Art, Edition 2 (1st ed.). New Delhi, India: Delhi Art Gallery. pp. 751–763. Retrieved 19 March 2025.
  7. ^ a b c d Ghosh, Sabyasachi (1987). "The Agony and the Ecstasy". The Telegraph. Kolkata, India (published 7 June 1987). pp. 18–19. Retrieved 19 March 2025.
  8. ^ a b c d e f Chattopadhyay, Purnanda (1991). "অবহেলিত নাকি স্ব-নির্বাসিত শিল্পী?" [Neglected, or self-exiled artists?]. DESH Magazine (in Bengali). Kolkata, India (published August 1991). p. 98.
  9. ^ a b Vachaspati, Gairola (1963). Das, Krishna (ed.). भारतीय-चित्रकला [Indian Painting] (in Hindi) (1st ed.). Allahabad: Mitra Prakashan. pp. 254, 264, 283. Retrieved 20 March 2025 – via Internet Archive.
  10. ^ Visva-Bharati Annual Report & Audited Accounts 1937–1938. Published April 1938, page 6
  11. ^ Visva-Bharati Annual Report & Audited Accounts 1937–1938. Published April 1938, page 14
  12. ^ a b c d e Ministry of Home Affairs, Government of India (1960) Gertrude Sinha (w/o Kiron Sinha) Austrian National, New Delhi: National Archives of India, 6/99/60 I. C. [available from National Archives of India]
  13. ^ "The School Crest". Vidyodaya Schools, T. Nagar, Chennai. Retrieved 18 March 2025.
  14. ^ a b Joshi, Mahesh (1995). उस युगीन भारतीय कला [Indian Art Through the Ages] (in Hindi) (1st ed.). Jodhpur: Rajasthani Prathagar. p. 288. Retrieved 20 March 2025 – via Internet Archive.
  15. ^ a b c d e Parkar, Hamida (14 November 2018). "The art of loving in tragedy". Indian Link. Vol. 26, no. 1. pp. 24–25. Retrieved 19 March 2025.
  16. ^ Sinha, K., Sinha G., Dattaji, M. S., George, E. (1942) 'The Rhythm of Life'. The Sunflower, Madras: Women's Christian College. Vol 42 pp.9–13
  17. ^ The Calendar Of The University of the Panjab, volume 1. The Mall, Lahore: The Civil and Military Gazette. 1945. p. 632. Retrieved 19 March 2025 – via Internet Archive.
  18. ^ "Visva-Bharati News". Visva-Bharati News. 15 (1): 44. July 1946. Retrieved 19 March 2025 – via Internet Archive.
  19. ^ Deb, Anutosh (19 March 2023). "Bulbul Art: Celebrating the art and lives of Kiron Sinha (1916–2009) and Gertrude Sinha Hirsch (1911–2011)". Art of Asu Dev. Retrieved 18 March 2025.
  20. ^ Deb, Anutosh (1983). Asu Dev: Homage to the Artist. Guwahati: Anutosh Deb.
  21. ^ King, Edith; King, Earl (15 October 1956). Smith, Mary Alice (ed.). "Handweaving in India Today" (PDF). Handweaver & Craftsman. 7 (4): 10–13, 53–54. Retrieved 19 March 2025 – via Internet Archive.
  22. ^ a b "News from the Capital". Eve's Weekly. Bombay, India. 1950. pp. unknown.
  23. ^ a b Fabri, Charles (22 October 1951). "Kiron and Gertrud Sinha: Paintings and Textiles (Institute of Foreign Languages, Davico's)". The Statesman. New Delhi, India. pp. unknown.
  24. ^ a b "Exhibition of Textile Prints and Paintings". Hindustan Times. New Delhi, India. 22 October 1951. pp. unknown.
  25. ^ a b "Mr Kiron Sinha's Paintings Exhibition at I.F.L. Centre". Times of India. New Delhi, India. 22 October 1951. pp. unknown.
  26. ^ Francis, Ivor (15 July 1952). "Show exciting, stimulating". The News. Adelaide, Australia. p. 9. Retrieved 19 March 2025 – via Trove.
  27. ^ a b "From our Art Critic". The Statesman. New Delhi, India. 18 December 1952. pp. unknown.
  28. ^ a b c Chattopadhyay, Purnanda (20 November 1984). "এটাই হবে আমার হাতের শেষ মূর্তি।" [This will be the last statue by my hands]. Ananda Bazar Patrika (in Bengali). Santiniketan, India. pp. unknown.
  29. ^ a b "Kiron Sinha's Paintings: Exhibition Opened". Hindusthan Standard. New Delhi, India. 18 December 1952. pp. unknown.
  30. ^ a b Yayati: Limited Edition Serigraphs by A. Ramachandran. New Delhi, India: The Serigraph Studio. 2014. p. 56. Retrieved 19 March 2025 – via Issuu.
  31. ^ Archana, Rani (2012). "Joyous Celebration of Nature in A. Ramachandran's Painting". IMIS International Press: 14–17. Retrieved 19 March 2025 – via ResearchGate.
  32. ^ a b Blewett, Verna; Hirsch, Lily; Gangopadhyay, Somnath (2015). "Work in art, art in work: [un]changing representations of work in the art of Kiron Sinha" (PDF). Proceedings of the 19th Triennial Congress of the International Ergonomics Association. Melbourne, Australia. Retrieved 19 March 2025 – via BulbulArt.
  33. ^ Ukil, Satyasri, Satyasri (2012). "Shantanu Ukil: Profile of the Painter". Unikcolors. Retrieved 19 March 2025.
  34. ^ Kumar, Pawan (2009). "रविवनाओं के बिंगा सृजन अट्रारा" [Creation is incomplete without feelings]. Arts Quarterly (in Hindi). Lucknow, India: Lalit Kala Academy: 27–30.
  35. ^ Sharma, Jagdish Saran (1955). Jawaharlal Nehru: A Descriptive Bibliography (PDF). Delhi, Lucknow, Jullundur: S. Chand & Co. pp. 301–304. Retrieved 19 March 2025 – via Internet Archive.
  36. ^ "Welcome: Celebrating the art and lives of Kiron Sinha (1916–2009) and Gertrude Sinha Hirsch (1911–2011)". BulbulArt. Retrieved 18 March 2025.
  37. ^ D. G. V. (1944). 'Bombay Art Society: Contemporary Events Figure in Exhibits'. The Bombay Chronicle. 26 January 1944, p.3. Bombay, India
  38. ^ a b Tidemann, Harold (12 July 1952). "Music... Art... Theatre: Helping to Foster Culture in Australia". The Advertiser. Adelaide, Australia. p. 7. Retrieved 19 March 2025 – via Trove.
  39. ^ "Indian Art for Adelaide". The Advertiser. Adelaide, Australia. 14 July 1952. p. 14. Retrieved 19 March 2025 – via Trove.
  40. ^ Contemporary Art Society Of Australia 14th Interstate Exhibition Catalogue. Sydney, Australia: Contemporary Art Society of Australia. 1952. p. 10.
  41. ^ "Paintings and Prints by the Sinhas". The Statesman. New Delhi, India. 23 October 1953.
  42. ^ "Fine work by Kiron Sinha: Paintings on View". Times of India. New Delhi, India. 1953.
  43. ^ Naylor, Stephen (2020). The Venice Biennale and the Asia-Pacific in the Global Art World. New York: Routledge. ISBN 9780367499808.
  44. ^ First National Exhibition of Art Catalogue. Jaipur House, New Delhi, India: Lalit Kala Akadami, National Academy of Art. 1955.
  45. ^ "Two Painting Exhibitions: Works of Raiba & Kiron Sinha". Hindustan Times. New Delhi, India. December 1955.
  46. ^ "Hand-Printed Textiles Exhibition: Sinhas' Joint Venture". Times of India. New Delhi, India. December 1955.
  47. ^ National Exhibition of Art Catalogue. New Delhi, India: Lalit Kala Akadami, National Academy of Art. 1956.
  48. ^ "শিল্পী কিরণ সিনহার প্রদর্শনী" [Artist Kiron Sinha's Exhibition]. Jana Sevaka (in Bengali). Santiniketan, India. November 1956.
  49. ^ "Kiron Sinha: paintings, and Gertrude Sinha: textiles (AIFACS)". The Statesman. New Delhi, India. November 1958.
  50. ^ Vijayatunga, Jinadasa (1959). "Kiron Sinha". Roopa Lekha. 29 (1–2). New Delhi, India: 97–100.
  51. ^ "Ausstellungen von 1953 bis 1985" [Exhibitions from 1953 to 1985]. Villa Hügel (in German). Retrieved 18 March 2025.
  52. ^ "Folk-Lore News". Folk -Lore. 2 (1). Calcutta, India: Folk-Lore: 58. January–February 1961 – via Internet Archive.
  53. ^ Smith, Bernard (24 September 1963). "Indian Royalty Visits Art Show". The Age. Melbourne, Australia. p. 5.
  54. ^ "People of Interest". Hemisphere Magazine. Vol. 7, no. 11. November 1963. p. 38. Retrieved 19 March 2025 – via Trove.
  55. ^ Butler, Rex (2013). "Ten Rooms: The Real Spaces of Asian-Australian Artistic Interaction". Broadsheet. 42 (3). Retrieved 19 March 2023 – via Academia.edu.
  56. ^ W.T. (16 October 1963). "Art and Drama Reviews". Sydney Morning Herald. Sydney, Australia. p. 14.
  57. ^ Gleeson, James (20 October 1963). "The World of Art". The Sun Herald. Sydney, Australia. p. 121.
  58. ^ "Art: From Argentina to Kulu". The Statesman. New Delhi, India. 2 October 1964.
  59. ^ "हमारे पूर्वजों की पेंटिंग्स की खोज हमें आर्ट्स कॉलेज तक ले आई" [The search for the paintings of our ancestors brought us to the Arts College]. Loksatta (in Hindi). Lucknow, India. 12 January 2023. p. 2.
  60. ^ "Exhibitions". Visva-Bharati News. 37 (7): 186. 1969.
  61. ^ Invitation for "Hintaal: An Exhibition of Kiron Sinha's Paintings", Davlalikar Kala Veethika, Indore, India. 1996
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