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Hamidur Rahman, the practice of fine arts in this country gained momentum during the 1950s.Hamidur rahman is an eminent artist of this period. Hamidur Rahman was born on 1st September 1928 in an aristocratic family of ashek lane, Dhaka, famed as the mystery land of the east situated on the bank of the river Buriganga. His father name is mirza fakir mohammad and mother jamila khatun.he was the sixth among the nine children of his parents. He was named basher ahmed aftrer birth and later it was changed to hamid ahmed. Finally, the artist called himself hamidur rahman according to his own wishes. Before admission to the institute of fine art, in 1948, hamidur rahman tried his hand in drawing and painting by copying pictures printed in different newspapers. Works different artist belonging to the Bengal school inspired him. Paintings by Rabindranath Tagore especially moved him. He followed Zaninul’s watercolor lessons at the institute. After two years education in an art at Dhaka Hamid went to Paris, the ecole des beaux art. His classmates in Paris were akbar padamsi, laxman pai, nirod majumder, paritosh sen, raja and other. hamid went to London in 1951 and was admitted to the Central School of arts and design the same year  where he obtained graduation in 1956in vacation of  1953 he went to Florence and completed a short course on mural art at the  world famous institute ‘Academy de Belle arte’. During 1958-59, he remained attached to Pennsylvania Academy of Fine Arts in Philadelphia, USA as a research scholar. Hamidur Rahman pursued teaching besides his practice of art. He was a professor at CANADA’s Macdonald Cartier polytechnic, Montreal from 1975 to 1985. Hamid’s art has graduated from the representational to metaphoric. The ever stirring sense of commitment in his blood inspired him to paint 1952 and 1971.the war of liberation haunted him repeatedly. He painted humans laying at the mass execution ground, the raped women, and also the victory procession, he wanted to create a heart rending gesture of 1971 with a few lines and soft clusters of colors in a graphic serenity. Moreover, his artworks brought him many awards at home and abroad. The national award in 1972 and first prize in the fifth Teheran biennale can be specially mentioned. The government of Bangladesh honored him with EKUSHEY AWARD in 1980. Hamidur Rahman is one of the leading artists of the abstract trend of this country. On the one hand he used the dynamics of different colors to represent the emotion and, on the other, he created figurative paintings and murals dominated by forms with clear contour lines. In the artist’s exhibition of 1956 the technical aspect of his paintings drew the attention of critics, the thickness and weight of oil color seems most necessary for the thought process and  subject matter and the force of application in the artist’s work. It has been given the freedom to express its own character by being applied by the spatula, cloth and hand. However he has no prejudice in using the brush. But not only the brush, starting from ordinary press ink, sand, sawdust, lime, bran and even nails have helped him to create his paintings. The traits of the expressionist style are apparent in hamidur rahman’s works, especially in the fifties and sixties. The agitations present in young hearts are diminished with maturity, may be it evolves and matures in a different way. The preoccupations of his times had emerged in the artist’s refinement of abstract paintings although Hamidur Rahman returned again to the figurative. However, his work remains uniquely stylized and is in no way realistic. Yet, comments of the critics about his mental inclination in the decade of the sixties which were manifested only in lines, colors and forms deserves mention here, Rahman’s, the artist of inner reality, is still probing to fathom the depth that touches the bottom of consciousness. And from this investigation he has found an excellent form that is exclusively his own. Hamidur Rahman has made an unforgettable place in the history of Bangladesh by designing the SHAHEED MINAR. Hamid’s friends the sculptor Novera Ahmed also worked with him on the Shaheed Minar. The mural that had remained intact even during the War of Liberation was whitewashed, nobody knew on whose orders. It is though art was raped and murdered. Later on, five columns were constructed at the Sheed Minar. The highest one is bent, symbolizing mother Bengal, on either side are her four immortal children, and This is what the SHAHEED MINAR expresses. Hamidur Rahaman has composed exhibitable walls at home and abroad (a total of 11000 square feet of wall-space). Borak Dudul, Fishermen's Village and Boat Composition that were done in 1957-58 periodicals section of the Public Library. In the work the geometry of straight lines divide the space to give artistic refinement to the structural form of the horse. On the other hand, a strong influence of the cubic style of art is noticeable in the fresco depicting the fishing community. Hamidur Rahman married Ashraf Jahan in 1960.They have two sons, and a daughter. He suffered from heart disease twice in 1987. He died in 1988, 19 November.