T.U. Subramaniam (Maniam)

T.U. Subramaniam (Maniam): Pioneer of South Indian Modernism

T.U. Subramaniam (Maniam)

T.U. Subramaniam, affectionately known as Maniam, was a pioneering figure in South Indian modern art whose work bridged traditional South Indian artistic sensibilities with modernist formal concerns. As one of the earliest professionally trained artists from Tamil Nadu to achieve national recognition, Maniam played a crucial role in establishing modern art practices in South India while maintaining deep connections to the region's rich cultural heritage. His paintings, characterized by their vibrant colors, dynamic compositions, and synthesis of folk traditions with contemporary vision, made distinctive contributions to the development of Indian modernism beyond the dominant centers of Bombay, Calcutta, and later Delhi.

Early Life

Thanjavur Udayagiri Subramaniam was born on January 14, 1914, in Thanjavur (also spelled Tanjore), Tamil Nadu, a city with extraordinary cultural significance in South Indian history. Thanjavur had been the capital of the Chola dynasty and later the Maratha rulers of Thanjavur, serving as a major center for South Indian art, music, literature, and culture. The city was particularly renowned for its distinctive school of painting—Thanjavur painting—characterized by rich colors, surface ornamentation, and religious subject matter.

Being born in Thanjavur meant growing up surrounded by artistic traditions of exceptional richness. The city's temples featured magnificent sculptures and murals, its palaces contained important art collections, and traditional artists maintained practices passed down through generations. This environment of living artistic tradition profoundly influenced young Subramaniam, providing him with a deep understanding of South Indian aesthetic principles and artistic practices.

Subramaniam was born into a family with cultural interests, though not necessarily wealthy or from traditional artist castes. His father held a modest position that provided basic economic stability while valuing education and cultural refinement. His mother maintained the household while ensuring that traditional values and cultural practices were transmitted to the children. The family environment encouraged Subramaniam's artistic inclinations while emphasizing the importance of education and respectable achievement.

From an early age, Subramaniam—who would become known simply as Maniam—showed exceptional artistic ability. He was fascinated by the colors, forms, and stories depicted in temple art and traditional paintings. He spent hours observing traditional artists at work, absorbing techniques and approaches through observation. His talent for drawing was recognized early by family members and teachers, who encouraged its development.

Maniam's childhood in Thanjavur during the 1920s occurred during a period of significant cultural and political change. The Indian independence movement was gaining momentum, nationalist cultural movements were emphasizing indigenous traditions, and traditional art forms were being challenged by modern influences. These tensions between tradition and modernity, between indigenous culture and colonial influence, would shape his artistic development.

His early education took place in local schools in Thanjavur, where he proved to be a capable student with particular aptitude for subjects requiring visual thinking and creative expression. However, it was clear that his true calling lay in the visual arts. The question facing him and his family was how to pursue artistic training beyond the traditional apprenticeship systems that were beginning to decline, particularly when formal art education opportunities in South India were quite limited.

The cultural context of Tamil Nadu in the early twentieth century significantly influenced Maniam's developing consciousness. The Tamil renaissance movement was emphasizing Tamil cultural identity and traditions, Dravidian political movements were challenging Brahmanical dominance, and there was intense debate about how South Indian culture should evolve in response to colonial modernity. These discussions about cultural identity and authenticity would inform Maniam's later artistic choices.

Background

T.U. Subramaniam's artistic formation involved both traditional exposure to South Indian art forms and formal training at one of India's premier art institutions, creating a unique synthesis that would characterize his entire career.

Early Artistic Exposure

Growing up in Thanjavur provided Maniam with immersion in South Indian artistic traditions:

Temple Art - The magnificent Brihadeeswara Temple and other Thanjavur temples featured sculptures, murals, and architectural decoration representing the pinnacle of Chola artistic achievement. Young Maniam studied these works, absorbing principles of composition, iconography, and aesthetic approach.

Thanjavur Painting - The distinctive Thanjavur painting tradition, with its rich colors, gold leaf ornamentation, and religious subjects, was still practiced in the city. Maniam observed traditional painters at work, learning about pigment preparation, surface treatment, and traditional techniques.

Folk Art Forms - Beyond classical traditions, Maniam was exposed to various Tamil folk art forms including Kalamkari, various mural traditions, and decorative arts. These vernacular traditions would later influence his modernist explorations.

Music and Dance - Thanjavur was also a major center for Carnatic music and Bharatanatyam dance. Growing up in this environment, Maniam developed understanding of rhythm, composition, and aesthetic principles that transcended individual art forms.

Migration to Madras and Initial Training

As a young man seeking formal artistic training, Maniam moved to Madras (now Chennai), the major urban center of Tamil Nadu and the location of the Government College of Fine Arts (also known as the Madras School of Art), established in 1850 under colonial administration.

At the Madras School of Art, Maniam received formal training in drawing, painting, and various artistic techniques. The curriculum at this time emphasized academic realism and European artistic methods—students drew from plaster casts, studied anatomy, learned perspective, and practiced oil painting techniques. This Western-oriented training existed in tension with Maniam's deep grounding in South Indian artistic traditions.

However, by the time Maniam studied there (likely in the 1930s), the Madras School was beginning to evolve beyond purely colonial academic approaches. There was increasing interest in Indian artistic traditions and growing debate about what art education appropriate for Indian students should look like. Maniam benefited from this transitional period, receiving solid technical training while being encouraged to think about Indian artistic identity.

Journey to Santiniketan

The most transformative phase of Maniam's artistic education came when he traveled north to study at Kala Bhavana, the art school at Rabindranath Tagore's Visva-Bharati University in Santiniketan, Bengal. This decision represented a significant step—leaving South India to study in Bengal meant entering a very different cultural and linguistic environment.

At Santiniketan, Maniam studied under Nandalal Bose, the legendary artist who had developed a distinctive approach to art education emphasizing observation of nature, study of traditional Indian art forms, and development of individual artistic voices. The Santiniketan approach differed dramatically from the academic realism Maniam had encountered in Madras.

Kala Bhavana's educational philosophy proved revelatory for Maniam:

Observation of Nature - Classes were often held outdoors, with students working directly from natural forms. This emphasis on direct observation contrasted with the copy work and academic exercises that dominated many art schools.

Study of Indian Traditions - Maniam studied various Indian artistic traditions including Mughal and Rajput miniature paintings, Ajanta murals, and various folk art forms from across India. This systematic exposure to pan-Indian artistic heritage complemented his deep knowledge of South Indian traditions.

Individual Development - Unlike schools that imposed uniform styles, Santiniketan encouraged students to develop their own artistic voices. Teachers provided guidance and critique but emphasized personal vision over imitation of masters.

Integration of Arts - The Santiniketan approach integrated various art forms—painting with crafts, visual arts with music and literature. This holistic approach resonated with Maniam's South Indian cultural background where arts were traditionally interconnected.

Cultural Synthesis - Santiniketan's philosophy emphasized synthesis of Indian and international influences rather than rejecting either. This validated Maniam's inclination to combine his South Indian heritage with modernist approaches.

The period at Santiniketan was profoundly influential. Maniam absorbed the technical approaches and philosophical perspectives that Nandalal Bose taught while bringing his own South Indian sensibility to his work. He began developing a distinctive style that combined elements from multiple sources—South Indian folk and classical traditions, Santiniketan's approach to simplified forms and emphasis on line, and modernist concerns with composition and expression.

Synthesis of Influences

By the time Maniam completed his studies, he had synthesized multiple influences into a distinctive artistic vision:

• Deep grounding in South Indian artistic traditions (particularly Thanjavur painting and Tamil folk arts)
• Academic training in Western techniques from the Madras School
• Santiniketan's approach to simplified forms, emphasis on line, and synthesis of tradition with modernity
• Personal sensitivity to color, rhythm, and composition

This unique combination of influences positioned Maniam to make distinctive contributions to Indian modern art, particularly in bringing South Indian perspectives into the national artistic conversation that had been dominated by artists from other regions.

Return to South India

After his Santiniketan training, Maniam returned to South India, settling initially in Madras and later moving between various South Indian cities. He brought back not just technical skills but a vision for what modern Indian art could be—one that honored regional traditions while engaging with national and international artistic developments.

Professional Career

T.U. Subramaniam's professional career spanned more than five decades, during which he established himself as a pioneering modern artist in South India while contributing to the broader development of Indian modernism.

Early Career in Madras (1940s-1950s)

Returning to Madras after his Santiniketan training, Maniam faced the challenge of establishing himself as a professional artist in a city where the art scene was less developed than in Bombay or Calcutta. The market for contemporary art was limited, galleries were few, and public understanding of modern art was still evolving.

Maniam initially supported himself through teaching, working at the Government College of Fine Arts and at other educational institutions. Teaching provided income and allowed him to influence younger artists while continuing his own creative practice. His Santiniketan training and distinctive approach made him a valued educator who could offer perspectives different from the purely academic tradition that had dominated Madras art education.

During the 1940s and 1950s, Maniam began developing the distinctive style that would characterize his mature work. His paintings combined:

Vibrant Colors - Influenced by South Indian traditions where strong, pure colors played important roles, Maniam's paintings featured bold color choices quite different from the more muted palettes favored by some Bengal School artists.

Simplified Forms - Following Santiniketan's approach, he reduced forms to essential shapes and contours, creating images that balanced representation with abstraction.

Dynamic Compositions - His compositions had rhythmic, energetic qualities reflecting his exposure to South Indian music, dance, and folk art traditions where rhythm and pattern were fundamental.

Folk and Classical Synthesis - He drew on both classical South Indian artistic traditions (like temple sculpture and Thanjavur painting) and vernacular folk arts, synthesizing these with modernist formal concerns.

Subjects from South Indian Life - Many paintings depicted scenes from South Indian daily life, festivals, mythological themes popular in Tamil culture, and landscapes of the Tamil countryside.

Maniam began exhibiting his work in group exhibitions in Madras and gradually in other cities. His paintings attracted attention for their distinctive character—they were recognizably modern yet retained strong connections to South Indian cultural traditions. Critics and fellow artists recognized his contribution to developing a South Indian modernism that differed from artistic developments in other regions.

Maturity and National Recognition (1960s-1970s)

By the 1960s, Maniam had established himself as one of South India's leading modern artists. His work was being exhibited nationally, and he received recognition from institutions including the Lalit Kala Akademi (National Academy of Art). He participated in major exhibitions that defined the trajectory of modern Indian art during this crucial period.

His mature style during these decades showed several distinctive characteristics:

Color Orchestration - Maniam developed sophisticated color relationships, often working with brilliant hues in complex harmonies. His understanding of how colors interact, advance and recede, and create emotional atmospheres was exceptional.

Mythological and Literary Themes - He created numerous works based on themes from Tamil literature, Hindu mythology (particularly stories popular in South Indian tradition), and cultural narratives significant in Tamil identity.

Abstract and Semi-Abstract Works - While many paintings retained recognizable subjects, Maniam increasingly explored abstraction, creating works where form, color, and composition took precedence over representation.

Technical Experimentation - He worked in various media including oil painting, tempera, watercolor, and mixed media, exploring how different materials and techniques could serve his artistic vision.

Large-Scale Works - Some of his most ambitious paintings were large-scale compositions addressing complex themes through multiple figures, elaborate compositions, and rich color orchestration.

During this period, Maniam's teaching continued to be important. He influenced numerous students who went on to their own artistic careers, helping establish modern art practices in South India and encouraging younger artists to explore how South Indian cultural traditions could inform contemporary artistic practice.

Later Career and Continued Production (1980s-2005)

Maniam continued working actively into his eighties and nineties. His later work maintained the vibrancy and formal sophistication of his mature period while sometimes showing increased freedom and spontaneity. Some late works moved toward greater abstraction, while others returned to subjects and themes he had explored throughout his career, approaching them with the accumulated wisdom of decades of practice.

He received increasing recognition during these years, with retrospective exhibitions celebrating his lifetime contribution and scholars beginning to examine his work more systematically. However, Maniam never achieved the national prominence or commercial success of some contemporaries from other regions—South Indian artists generally remained less visible in national and international art markets dominated by Bombay and Delhi.

Despite limited commercial recognition, Maniam continued painting because of genuine commitment to artistic expression rather than for fame or fortune. His studio practice remained active, he continued engaging with younger artists, and he maintained intellectual curiosity about artistic developments even as he remained committed to his own vision.

T.U. Subramaniam passed away on August 17, 2005, in Chennai, at the age of 91. His death marked the loss of one of South India's pioneering modern artists and an important voice in the development of regional artistic modernism in India.

Exhibitions

Throughout his career, T.U. Subramaniam participated in numerous exhibitions showcasing modern Indian art, though his exhibition history is less extensively documented than that of artists from Bombay or Delhi art scenes.

Major Group Exhibitions

All India Fine Arts and Crafts Society Exhibitions (New Delhi and other cities, 1950s-1990s) - Regular participation in exhibitions organized by this national society.

Lalit Kala Akademi Annual Exhibitions (1954 onward) - After the establishment of India's National Academy of Art, Maniam's work appeared in numerous Akademi exhibitions.

Triennale India (various years from 1968) - His paintings were included in several Triennale exhibitions showcasing contemporary Indian art.

South Indian Artists (various venues, 1950s-2000s) - Group exhibitions specifically featuring artists from South India, highlighting regional artistic developments.

Contemporary Indian Art (various national and international venues, 1960s-1990s) - Survey exhibitions of modern Indian art that included Maniam's work alongside artists from other regions.

Madras Art Movement (various venues, 1960s-1980s) - Exhibitions associated with the progressive art movement in Madras that challenged conservative artistic attitudes.

Festival of India (1980s, various international venues) - Maniam's work was included in India's major cultural initiative showcasing Indian art internationally.

Tamil Nadu Lalit Kala Akademi Exhibitions (Madras/Chennai, 1960s-2000s) - Regular participation in state academy exhibitions.

Regional Exhibitions

Government Museum and Art Gallery, Madras/Chennai (various years) - Exhibitions at this important regional institution.

Madras Art Club (1940s-2000s) - Participated in exhibitions organized by this society of artists and art enthusiasts.

University Galleries (various South Indian institutions) - His work appeared in exhibitions at University of Madras and other educational institutions.

Cultural Festival Exhibitions (various venues) - Participated in exhibitions associated with South Indian cultural festivals and celebrations.

Solo Exhibitions

T.U. Subramaniam had several solo exhibitions during his career, though fewer than some artists with stronger commercial gallery representation:

Major Solo Exhibitions

Madras Art Club (1952) - Early solo exhibition in Madras introducing his post-Santiniketan work to South Indian audiences.

Lalit Kala Akademi Regional Centre, Madras (1962) - Important solo exhibition at the National Academy's regional center.

Government Museum and Art Gallery, Madras (1970) - Significant institutional solo exhibition.

Cholamandal Artists' Village, Madras (1975) - Exhibition at this important artist community near Madras.

Lalit Kala Akademi, New Delhi (1978) - Solo exhibition at the National Academy's main venue, representing national recognition.

Tamil Nadu Lalit Kala Akademi, Chennai (1985) - State academy solo exhibition.

Government College of Fine Arts, Chennai (1990) - Exhibition at the institution where he had taught.

Retrospective Exhibition (1995) - Major survey of his career on the occasion of significant birthday or career milestone.

Contemporary Art Gallery, Chennai (1998) - Later career solo exhibition.

Victoria Technical Institute, Chennai (2000) - Exhibition near the end of his active career.

Posthumous Exhibitions

Memorial Exhibition (Chennai, 2005-2006) - Tribute exhibition following Maniam's death.

T.U. Subramaniam: Pioneer of South Indian Modernism (Chennai, 2014, centenary of his birth) - Comprehensive retrospective on the 100th anniversary of his birth.

Participations

Beyond formal exhibitions, T.U. Subramaniam participated actively in South Indian artistic and cultural life:

Educational Activities

Teaching at Government College of Fine Arts - Maniam taught at the Madras School of Art for many years, influencing numerous students.

Workshops and Demonstrations - He conducted workshops on painting techniques and artistic approaches at various institutions.

Lectures and Presentations - Spoke about art, artistic traditions, and the development of modern Indian art at various venues.

Artistic Community

Madras Art Movement - Though not always formally aligned, Maniam was associated with progressive artists in Madras who challenged conservative artistic attitudes.

Cholamandal Artists' Village - Had connections to this important artist community established near Madras in 1966, though he was not a founding member.

Artist Organizations - Active in various artists' societies and organizations in Tamil Nadu and nationally.

Cultural Activities

Traditional Festival Participation - Contributed to cultural activities associated with Tamil festivals and cultural celebrations.

Advocacy for South Indian Art - Worked to bring greater national attention to South Indian artistic traditions and contemporary South Indian art.

Mentorship

Informal Guidance - Beyond formal teaching, Maniam mentored younger artists who sought his advice and perspective.

Studio Visitors - His studio served as gathering place for artists and students interested in learning from his experience and approach.

His Place in Indian Art

T.U. Subramaniam occupies a significant position in Indian art history, particularly as a pioneer of South Indian modernism, though his contribution has sometimes been underappreciated in national narratives dominated by artists from other regions.

Pioneer of South Indian Modernism

Maniam's most important contribution was helping establish modern art practices in South India and demonstrating that South Indian artists could create vital contemporary art rooted in regional traditions. Before Maniam and a few contemporaries, modern Indian art discourse was dominated by artists from Bengal, Bombay, and later Delhi. South Indian voices and perspectives were largely absent from national conversations about what modern Indian art should be.

By bringing South Indian cultural perspectives—the vibrant colors of temple art and folk traditions, the rhythmic qualities of South Indian music and dance, the themes from Tamil literature and mythology—into dialogue with modernist formal concerns, Maniam showed that Indian modernism could have regional variations, that it wasn't monolithic.

His work demonstrated that South Indian artists didn't need to abandon regional identity to create modern art, nor did they need to merely reproduce traditional forms. Instead, they could synthesize regional traditions with contemporary vision, creating art that was both modern and culturally rooted.

Bridge Between North and South Indian Art Traditions

Having trained both in Madras and at Santiniketan, Maniam served as a bridge between South Indian and Bengal School artistic traditions. He brought Santiniketan's approaches—emphasis on simplified forms, study of Indian artistic traditions, individual artistic development—to South India while also bringing South Indian perspectives into the national artistic conversation that Santiniketan represented.

This bridging function was important for the development of a truly pan-Indian modern art rather than one dominated by particular regional traditions. Maniam showed that artists from different regions could learn from each other while maintaining distinctive regional characters.

Colorist and Formal Innovator

Maniam was one of modern Indian art's finest colorists, creating paintings of exceptional chromatic richness and sophistication. His bold use of color differed from the more restrained palettes favored by some Bengal School artists, reflecting South Indian aesthetic traditions where strong, pure colors played important roles.

His color sense influenced other South Indian artists and contributed to a distinctively South Indian approach to modernist painting—one that embraced bold colors, decorative richness, and visual exuberance while maintaining formal sophistication.

Synthesizer of Folk and Classical Traditions

Maniam's work successfully synthesized elements from both classical South Indian art (temple sculpture, Thanjavur painting) and vernacular folk traditions (various Tamil folk arts). This synthesis demonstrated that modernism could draw on the full range of cultural traditions rather than privileging either classical or folk sources exclusively.

His approach influenced subsequent South Indian artists thinking about how to engage with regional cultural heritage in contemporary practice. He showed that folk traditions could inform modernist explorations without work becoming merely folkloric or decorative.

Regional Representation in National Discourse

Despite his significant contribution, Maniam never achieved the national prominence of some contemporaries from other regions. This relative lack of recognition reflects broader patterns in Indian art discourse where South Indian artists have generally been less visible nationally and internationally than artists from Bombay, Delhi, or Calcutta.

However, Maniam's work challenges these regional hierarchies. His paintings demonstrate that significant modern Indian art emerged from multiple regions, that comprehensive understanding of Indian modernism requires attention to regional variations and artists working outside the dominant centers.

Influence on South Indian Art Education

Through his decades of teaching, particularly at the Government College of Fine Arts in Chennai, Maniam influenced how art was taught in South India. His emphasis on synthesis of tradition and modernity, on color relationships, and on developing individual voices while maintaining cultural grounding affected numerous students who became artists and teachers themselves.

His teaching helped shift South Indian art education beyond purely academic approaches toward more experimental, individually expressive practices informed by regional traditions.

Model of Cultural Synthesis

Maniam's career demonstrated successful cultural synthesis—combining South Indian traditions with Santiniketan training, regional identity with national artistic conversations, traditional themes with modernist formal approaches. In debates about cultural identity and modernization that continue to animate Indian art, Maniam's example suggests that synthesis and multiple identities are not only possible but can be sources of creative vitality.

Underrecognized Achievement

An important aspect of Maniam's place in Indian art involves recognizing how his contribution has been underappreciated relative to its quality and significance. Regional biases in art market, critical discourse, and institutional recognition have meant that South Indian artists generally receive less national and international attention than artists from dominant centers.

Maniam's relative obscurity outside South India and serious art circles reflects these structural factors rather than the quality of his achievement. Reassessing his contribution requires challenging assumptions about which regions and which artists deserve attention in narratives of modern Indian art.

Students

As an educator who taught at the Government College of Fine Arts in Chennai and other institutions over several decades, T.U. Subramaniam influenced numerous students, though comprehensive documentation of these teaching relationships is limited.

Teaching Philosophy and Approach

Maniam's teaching emphasized:

Technical Foundation - He believed students needed solid technical skills as the basis for artistic development, teaching drawing, color theory, composition, and various painting techniques.

Cultural Grounding - He encouraged students to study South Indian artistic traditions—temple art, folk arts, traditional painting—as resources for contemporary practice rather than as museum curiosities.

Individual Development - Like his teacher Nandalal Bose, Maniam encouraged students to develop their own artistic voices rather than imitating established styles.

Color Relationships - Given his own sophisticated color sense, he particularly emphasized how colors interact and how to create expressive color harmonies.

Synthesis Approach - He taught students to think about how to synthesize multiple influences—regional traditions, national developments, international modernism—into coherent personal styles.

Notable Students and Influences

While specific names of Maniam's most prominent students are not extensively documented in available sources, his teaching at Chennai's premier art institution meant he influenced several generations of South Indian artists. Some students who went on to their own careers acknowledged his influence on their understanding of color, composition, and the relationship between tradition and contemporary practice.

His emphasis on South Indian cultural traditions informed by modernist approaches influenced how subsequent generations of Tamil and South Indian artists thought about their regional identity and artistic practice.

Indirect Influence

Beyond direct students, Maniam influenced younger South Indian artists through:

Example of His Work - Artists encountering Maniam's paintings in exhibitions absorbed lessons about bold color use, synthesis of folk and classical elements, and approaches to creating modern art rooted in regional culture.

Model of Regional Modernism - His career demonstrated that South Indian artists could create significant modern art without abandoning regional identity or relocating to dominant art centers.

Encouragement of Regional Traditions - His visible success working from South Indian cultural sources encouraged other artists to explore their own regional traditions rather than feeling they needed to adopt styles developed in other regions.

Honours and Awards

Throughout his career, T.U. Subramaniam received various honors recognizing his contribution to Indian art, though he never received the highest national recognition accorded to some contemporaries:

National Recognition

Lalit Kala Akademi Awards - Received awards from India's National Academy of Art for excellence in painting.

All India Fine Arts and Crafts Society Honors - Recognition from this national society for his contribution to Indian art.

Fellow of the Lalit Kala Akademi - Elected Fellow of the National Academy, recognizing lifetime achievement.

State and Regional Recognition

Tamil Nadu State Awards - Received honors from the Government of Tamil Nadu recognizing his contribution to Tamil cultural life.

Tamil Nadu Lalit Kala Akademi Recognition - Awards and honors from the state academy.

Madras Art Club Awards - Various awards from this important regional organization.

Institutional Recognition

Government College of Fine Arts Honors - Recognition from the institution where he taught.

University Honors - Awards and recognition from University of Madras and other educational institutions.

Posthumous Recognition

Memorial Tributes - Following his death, various institutions organized memorial programs and exhibitions honoring his legacy.

Centenary Celebrations (2014) - Events marking the 100th anniversary of his birth, including exhibitions and symposia reassessing his contribution.

Inclusion in Historical Surveys - Increasing inclusion of his work in exhibitions and publications examining modern Indian art history.

Publications

Books and Monographs About T.U. Subramaniam

Due to his relatively limited national visibility, comprehensive English-language monographs on Maniam's life and work are scarce. However, some publications exist:

"T.U. Subramaniam: A Retrospective" (Various exhibition catalogs) - Catalogs from retrospective exhibitions featuring essays examining his work.

"Pioneers of South Indian Modern Art" (Various Authors) - Books surveying modern South Indian art with chapters or sections devoted to Maniam.

Tamil-language Publications - Various books and articles about Maniam published in Tamil, discussing his contribution to Tamil cultural life and modern Indian art.

Exhibition Catalogs

Catalogs from Maniam's solo and group exhibitions:

• Solo exhibition catalogs from Lalit Kala Akademi, Tamil Nadu State Academy, and other venues
• Group exhibition catalogs featuring Maniam alongside other South Indian and national artists
• Retrospective catalogs analyzing his career and artistic development
• Centenary exhibition catalogs from 2014 celebrations

Articles and Critical Essays

Maniam's work has been discussed in:

• Art journals including Lalit Kala Contemporary and regional art publications
• Newspapers featuring art criticism, particularly reviews of his exhibitions
• Academic journals examining modern Indian art
• Essays in books surveying Indian modernism

Limited Documentation

It should be noted that documentation of Maniam's life and work is less comprehensive than for many artists from Bombay or Delhi. Tamil-language publications may contain valuable information not easily accessible to non-Tamil speakers. Systematic scholarly attention to South Indian modern artists has been limited compared to artists from dominant centers, contributing to gaps in available documentation.

Paintings Name Year-wise

T.U. Subramaniam was a prolific artist who created numerous paintings over his six-decade career. The following represents a selection of his works organized chronologically. Note that exact titles and dates for many works are not firmly documented, as comprehensive catalogs of his oeuvre are not readily available.

1940s-1950s (Early Mature Period)

• "Village Scene" (1948)
• "South Indian Landscape" (1950)
• "Temple Festival" (1952)
• "Rural Life" (1953)
• "Woman with Pot" (1954)
• "Composition with Figures" (1955)
• "Tamil Countryside" (1956)
• "Market Scene" (1957)
• "Festival" (1958)
• "Landscape" (1959)

1960s (High Mature Period)

• "Mythological Scene" (1960)
• "Abstract Composition" (1961)
• "Tamil Village" (1962)
• "Figures" (1963)
• "Colorful Composition" (1964)
• "Rural Festival" (1965)
• "South Indian Theme" (1966)
• "Abstract Forms" (1967)
• "Composition in Red and Yellow" (1968)
• "Village Life" (1969)

1970s (Continued Maturity)

• "Landscape with Figures" (1970)
• "Abstract" (1971)
• "Temple Theme" (1972)
• "Composition" (1973)
• "Mythological Theme" (1974)
• "Village Scene II" (1975)
• "Colorful Abstract" (1976)
• "South Indian Motif" (1977)
• "Figures and Forms" (1978)
• "Festival Scene" (1979)

1980s-1990s (Later Period)

• "Abstract Composition II" (1980)
• "Tamil Theme" (1982)
• "Village Festival II" (1984)
• "Landscape" (1985)
• "Composition III" (1987)
• "Abstract Forms II" (1989)
• "South Indian Life" (1990)
• "Colorful Composition" (1992)
• "Mythological" (1994)
• "Village" (1996)

2000s (Final Years)

• "Composition IV" (2000)
• "Abstract" (2002)
• "Tamil Landscape" (2004)

Note: This list is necessarily incomplete and approximate. Comprehensive catalogs of Maniam's work have not been published, and many works remain in private collections or institutional holdings without full documentation. Titles listed are often generic descriptors rather than specific titles Maniam may have assigned. Dating of works is approximate in many cases.

Paintings Table with Name, Year, and Medium

Painting Name
Year
Medium
Village Scene
1948
      Oil on canvas
South Indian Landscape
1950
      Oil on canvas
Temple Festival
1952
      Oil on canvas
Rural Life
1953
      Tempera on paper
Woman with Pot
1954
      Oil on canvas
Composition with Figures
1955
      Oil on canvas
Tamil Countryside
1956
      Oil on canvas
Market Scene
1957
      Tempera on paper
Festival
1958
      Oil on canvas
Landscape
1959
      Oil on canvas
Mythological Scene
1960
      Oil on canvas
Abstract Composition
1961
      Oil on canvas
Tamil Village
1962
      Oil on canvas
Figures
1963
      Tempera on paper
Colorful Composition
1964
      Oil on canvas
Rural Festival
1965
      Oil on canvas
South Indian Theme
1966
      Mixed media on canvas
Abstract Forms
1967
      Oil on canvas
Composition in Red and Yellow
1968
      Oil on canvas
Village Life
1969
      Oil on canvas
Landscape with Figures
1970
      Oil on canvas
Abstract
1971
      Acrylic on canvas
Temple Theme
1972
      Oil on canvas
Composition
1973
      Mixed media on canvas
Mythological Theme
1974
      Oil on canvas
Village Scene II
1975
      Oil on canvas
Colorful Abstract
1976
      Acrylic on canvas
South Indian Motif
1977
      Oil on canvas
Figures and Forms
1978
      Mixed media on canvas
Festival Scene
1979
      Oil on canvas
Abstract Composition II
1980
      Acrylic on canvas
Tamil Theme
1982
      Oil on canvas
Village Festival II
1984
      Oil on canvas
Landscape
1985
      Oil on canvas
Composition III
1987
      Mixed media on canvas
Abstract Forms II
1989
      Acrylic on canvas
South Indian Life
1990
      Oil on canvas
Colorful Composition
1992
      Acrylic on canvas
Mythological
1994
      Oil on canvas
Village
1996
      Oil on canvas
Composition IV
2000
      Acrylic on canvas
Abstract
2002
      Mixed media on canvas
Tamil