Debiprosad Roy Chowdhury was born in 15 June 1899 in Tajhat, Rangpur, Undivided India | Present-day Bangladesh.

Deviprasad was an expert in painting such supernatural settings. Scratching his paintings with a blade or a penknife or with the butt-end of the sable brush, he would manage to bring out an impression full of musical harmony, as it were. They were sublime. He had adopted various techniques of his own after a good deal of trial and error to achieve the desired effect. He had used Chinese technique in many of his renderings; fine short strokes of brush had been applied to attain the effect of Chinese calligraphy whenever he sketched bamboo clusters, human figures or feathered birds…The Chinese technique, the Japanese wash process and his own scratching method, all mixed up, were instrumental in arriving at a significant culmination that pleased the eyes and the mind…To be precise, with the rare gift of a sense of proportion and controlled emotion he had produced a unique style based on his wide knowledge of diverse art of different nations, and they were all superb aesthetically. These were chiaroscuros in effect, and revealed a world of feeling and emotion transcending our familiar phenomenal universe.

In 2005, the artist achieved a new high in the auction market with the sale of Bust Of Gandhiji (1950), offered in the Indian Contemporary Art: Paintings, Drawings & Sculpture by Osian's, which concluded on 09 February 2005 at Mumbai, achieving a sale price of ₹10,35,000 ($23,717). This record marked a defining moment in the artist's market history, reflecting both the significance of the artwork and its reception within the broader art world.

Between the two extreme poles of romanticism of the Bengal School and the drama of light and shade of the Rembrandt School, Deviprasad tried to find a synthesis, which apparently was impossible... In my estimation, this is Deviprasad’s greatest contribution to contemporary Indian art.

Between the two extreme poles of romanticism of the Bengal School and the drama of light and shade of the Rembrandt School, Deviprasad tried to find a synthesis, which apparently was impossible… Deviprasad had no fixed style of painting…he instead reveled in wielding his brush in a delicate, tenderly fashion more in the Japanese way of wash technique to bring out the delicacy of a misty atmosphere where we find a ruffled crow perching on the branch of a tree after being bitten by storm and rain. It is a unique example, a masterpiece where the technique has been made full use of in bringing out the life of the crow as well as the whole atmosphere. It is unthinkable, this delicacy of atmosphere could have been brought about by treating the subject in any other technique