BENGAL SCHOOL OF PAINTING

Origin & Development

Art in India had a different purpose prior to the coming of the British. It could be seen on
statues, on temple walls, miniature paintings that often illustrated manuscripts, decorations
on the walls of mud houses in villages, among many other examples.
What flourished was the British style of painting - the style of academic realism!

• Indian painting was degraded into weak imitation and it almost reached a dead end.
• Under British rule, Indian art had reached the lowest point of development.
• Through the systematic propaganda, educated Indians were convinced that India had
no cultural heritage.
• An art movement started where Indian painters and artists not only raised their voice
against the activities of the “British Art Academy” but also started separating
themselves from following blindly the lifeless style of western realism.
• This style of painting was a nationalistic reaction against the styles promoted by the
Britishers associated with the Nationalistic movement (Swadeshi).
• In this good cause, Prof. E.B. Havell, Principal of Government Art School, Kolkata
cooperated with them.
• Havell was introduced to Abanindranath Tagore in Calcutta, who was one of the
leading artists of that period.
• Havell was not in favor of the tradition of copying European painting.
• Therefore in 1904, he started getting the specimens of European painting and the
western relics removed from the art gallery of the school.
• In place of them, paintings of Ajanta, Bagh, Ellora, the Rajput and the Mughal were
placed to encourage the Indian art which were ideal and plentiful in Indian life.
• Havell told him to join as the vice principal of Government Art College, Calcutta.
• They firmly believed in creating a new type of painting that was Indian not only in
subject matter but also in style.
• E.B. Havell and Abanindranath Tagore designed a curriculum to include and
encourage technique and themes in Indian art traditions.
• Abanindranath Tagore learnt watercolor techniques from two Japanese artists and
combined the European watercolor technique and created a new technique which is
known as “Wash Technique” which became the hallmark of Bengal Paintings.
• The most successful examples of the academic style of oil painting were produced by
Raja Ravi Verma.
• He mastered the style of academic realism and used it to depict scenes from popular
epics like the Ramayana and Mahabharata.
• They became so popular that many of his paintings were copied as oleographs and
were sold in the market. They even entered people’s homes as calendar images.
• Bengal school is considered as an influential art movement that originated in Bengal,
especially in Kolkata and Shantiniketan.
• It flourished throughout India during the early 20th century and was known as Indian
Style of Painting.
• Bengal School is also called Revival School. The Idea behind this school was a
vision of an Independent India that would get its strength from the rich culture and
historical heritage that it holds.
• Bengal school of Painting brought a Renaissance in Indian Art.
• This renaissance of Indian Art spread in every corner of the country after starting
from Bengal. Special art centers were started at Bombay, Madras, Delhi and so on.
 • With the joint efforts of E.B. Havell, Abanindranath Tagore, Gagnendranath Tagore
and many others, Indian society of Oriental Arts was founded whose aim was to
encourage traditional Indian Art of painting with the help of progessive artists.
• Among the eminent disciples of Abanindranath were - Nand Lal Bose, D.P. Roy
Chowdhury, K. Venketappa, Asit Kumar Haldar, M A R Chugtai, Shailendranath Dey
& Sharada Charan Ukil who with their techniques gave new heights to Indian Art.
• Dr. Anand Coomaraswamy arranged several exhibitions of Indian paintings in other
countries which obtained appreciation and recognition for Indian Art.
• At the same time Lady Herrigham got the painting of Ajanta copied by Nandlal Bose,
Asit Kumar Haldar and K.Venkatappa.
• She also got the same published in the Indian Society, London.
• Influence of Ajanta and Bagh is clearly seen in Bengal Paintings. The Bengal
painters have succeeded in introducing linear delicacy, rhythm and grace of Ajanta
into their paintings. The impact of Mughal and Rajasthani school is also visible in the
paintings.

• The Bengal school of painting has also laid down the foundation stone of the modern
paintings.

BENGAL SCHOOL OF PAINTING

• Bengal school is considered as an influential art movement that originated in Bengal,

especially in Kolkata and Shantiniketan.
• It flourished throughout India during the early 20th century.
• Bengal School is also called Revival School.
• The Bengal School brought Renaissance and diverted a lot of attention towards the
heritage of India.
• Bengal school enriched and preserved the traditional values and saved India from
the slavery of expression.

Characteristics of Bengal School of Painting

Subject Matter
• Religious Theme
o Ganesha, Shiv - Parvati, Mahakali, Krishna and Gopis , events from
Ramayana, Mahabharata, Buddha etc were painted under this theme.
• Historical Theme
o Paintings like Death of Shah Jahan by Abanindranath Tagore, Jahanara at
the Taj by M.A.R Chugtai, Buddha and Sujata by Abanindranath Tagore were
painted under historical themes.
• Patriotic Theme
o Bharat Mata by Abanindranath Tagore, Awakening of Mother India by Asit
Kumar Haldar and many other paintings on this theme were painted in this
school.
• Literary Theme
o Themes of Indian literature were also painted in this school. Meghdoot by
Ram Gopal Vijayvargiya is very famous for this theme.
• Social Theme
 o There is an abundance of social and daily life paintings in this school.
o Hardware merchant, Beggar, Tiller of soil by Nandalal Bose, Santhal Family
by Jamini Roy are some of the paintings which showed the social life of India.
• Depiction of Birds and Animals
o Birds and animals are really beautiful and expressive.
o Journey's end by Abanindranath Tagore which is a marvelous painting and an
emotional wonderful sight.
o The deer, Cat and lobster by Jamini Roy are some of the paintings under this
theme.

Influence
Influence of Ajanta
o The soul of Ajanta is clearly visible in Bengal paintings.
o Impact of Mughal and Rajput paintings as well.

Technique
Wash Technique
o The Japanese wash technique in watercolor became the Hallmark of the
Bengal School.

Style & Theme

Full of Indian Tradition

o The subject matter and style of this school is full of Indian traditional style of
painting, which was actually the main aim of Bengal painters.

Colour Scheme
Attractive Colour Scheme
o Colours used are soft and glowing in order to bring harmony in the painting.
o Gaudy colours have not at all been used.

Composition
Simple and Clear Paintings
o The compositions are contemporary and most simplified.
o The paintings are easy to understand.

BENGAL SCHOOL OF PAINTING

Painting 1 - Journey’s End by Abanindranath Tagore

• Title -Journey's End
• Artist - Abanindranath Tagore
• Medium - Water colour on Paper
• Technique - Tempra and Wash
• Period - Bengal School
• Collection - National Gallery Of Modern Art, New Delhi
Subject Matter
• This painting shows a tired and overloaded camel which has collapsed under the
massive weight. Posture of the camel indicates as if everything is finished.
• The artist is showing a reflection of human life through this piece of art - work.

Description
• This painting is a masterpiece painted by Abanindranath Tagore, which is very
expressive in an artist's visual language.
• It was first published in Prabasi, a Bengali Magazine.
• It clearly shows how the life of a camel is about to end after a long and tiring
journey.
• The background and the sky is covered with subtle colour of yellow, orange, red and
brown in wash technique to give an effect of sunset
• The massive load laden on his back is the symbol of his ultimate exploitation and
tyranny by his owner.
• The expression and posture of the camel looks real and lively.
• The temperament and sufferings of the weak, tired, hungry and thirsty camel has
been shown, his listless body by his half - opened eyes as Journey's end. His clenched
teeth showing the death.
• The background and the sky is covered with subtle colour of yellow , orange, red and
brown to give an effect of sunset.
• Selection of colour is in harmony with the subject. The sun going below the horizon
with its glow fading and the camel journey of life has come to its end.
• The camel has been painted in a yellow brown colour carrying goods on its back tied
with cords shown by the combination of blue, black brown and yellow colours.
• The tint of blue has also been added to the stones where the camel is about to fall
down with its knees folded.
• The artist is showing a reflection of human life through this piece of art - work.
• Entire painting has a rhythm and expression of deep feelings.
• Both forelegs of the camel are bent down causing his head and neck to rest on the
ground.
• His head is shown slightly high from the ground as if he has a desire to get up once.
• Both forelegs of the camel are bent down causing his head and neck to rest on the
ground.
• His head is shown slightly high from the ground as if he has a desire to get up once.
• Both forelegs of the camel are bent down causing his head and neck to rest on the
ground.
• His head is shown slightly high from the ground as if he has a desire to get up once.
• Selection of colour is in harmony with the subject.
• The sun going below the Horizon with its glow fading and the camel journey of life
has come to its end.
• The details of the dying camel are studied exceptionally and reflect intense study by
the artist
• This painting is an excellent example of the Wash Technique, which was the
hallmark technique of Bengal Paintings created by Abanindranath Tagore.
 • This painting shows Tagore's specific line of work, concentration of the emotions and
the mixture of technique with a gloomy colour combination, diffused light
backgrounds to create a foggy and mystic look.
• These qualities make 'Journey's End ', an unforgettable image.

Human life values from this Painting

• Master should be kind and caring towards the animals.

• Animal's loyalty towards its master.

POINTS TO REMEMBER

Subject Matter - Topic of the painting

Description & Composition - Explain the painting step by step, from head to toe.
Explain each characteristic in detail - Position, Placement, Expressions, Anatomy,
Background, Foreground. Finally, Overall Impression of Painting.

BENGAL SCHOOL OF PAINTING

Painting 2 - Radhika by M.A.R. Chugtai

Title - Radhika
Artist - M.A.R. Chugtai
Technique - Tempra and Wash
Medium - Watercolour on Paper
Period - Bengal School
Collection - National Gallery of Modern Art, New Delhi

Subject Matter

• In this painting, the temperament of lovelorn Radhika has been shown artistically.
• This painting is based on Hindu mythology.

Description

• Radhika is one of the most beautiful wash painting of M.A.R. Chugtai who was one
of the most gifted artist of the Indian Renaissance.
• This is a painting of an attractive Indian girl who is shown as delicate and flexible.
• Radhika is portrayed walking away from a lighted lamp in a gloomy background as if
in a state of trance or remorse.
• In this painting Radhika is shown in profile.
• She is drawn with her head down, half opened eyes and sharp eyebrows with soft and
delicate lines.
• Her braid of black tresses is flowing down her back.
• She is holding a lotus flower in both hands, right hand hung downward but softly holding a
lotus, and a honey bee is shown sitting on the flower.
• With the other hand she is touching the flower to her face and feels tenderness.
• Radhika is depicted with very delicate lines in flexible shape with great grace.
• She is wearing a lot of ornaments like a pearl necklace, bangles, pendant and rings to
enhance the beauty of the painting.
• She looks very attractive in red blouse, purple lehenga and a yellow odhani worn in
typical Indian style.
• The detail of each fold of her costumes leaves a beautiful impression due to its
rhythmic form and flexibility.
• The lamp placed in a corner is yet another example of Mughal influence on the artist's
work.
• The burning flame and smoke from the lamp are going upwards.
• The light of the lamp from the yellow red wick is illuminating the lady and adding a
touch of divinity.
• The background is a blend of fusion colours in uniform and tonal gradation.
• The tonal variation in the background colours and the perfect blending of black yellow and
red colours are highlighting Radhika vividly.
• The style of the painting seems to be influenced by Mughal royalty.
• The whole figure reveals the delicate and intricate craftsmanship of the artist.
• The light and shade of the background represent the finest heights of simplification.

BENGAL SCHOOL OF PAINTING

 Painting 3 – Shiva and Sati
• Title - Shiva and Sati
• Artist - Nand Lal Bose
• Period - Bengal School/ Modern
• Technique -Tempera and Wash
• Medium - Watercolour on Paper
• Courtesy - National Gallery of Modern Art, New Delhi

Subject Matter

• In this painting the artist Nandalal Bose beautifully depicts the narrative mythology
from the life of Shiva and Sati.
• The painting Shiva and Sati by Nandalal Bose is one of his famous works based on
Indian mythology.
• Sati married Shiva against the wishes of her father Daksh.
• Daksh organised a huge Yajana at his place and intentionally did not invite his
daughter and son-in-law, Shiva to the Grand ceremony.
• Daksh insulted Sati with cruel, harsh and abusive words in front of all the dignitaries
for marrying Shiva whom he called an atheist and cremation ground dweller.
• Not able to take more insult she ended her life through her intrinsic powers by
burning her body through fire (immolated herself in front of everybody).
• She has sacrificed her life for the sake of her husband Shiva's self-respect.

Description

• This painting depicts the dead body of Sati in the arms of Shiva who is shown in a
sitting position.
• For his representation as god, Shiva is shown with a halo at the back of his head.
• The shades of light in white colour have been depicted on foreheads of both figures
and also on body of Shiva.
• Sati is shown wearing red saree and also wearing earrings, necklace, armlets and
bracelets.

Colour Scheme

• The colour scheme of this great work goes in a monochromatic brown.

• Background has tones of yellow and browns. Foreground has tones of violet, browns
and white.
• The shades of light in white colour have been depicted on foreheads of both figures
and also on body of Shiva.
• The shades of Brown to yellow in the background give a depth to the main figures.

Influence

• This is a monochromatic painting and seems to be inspired from Ajanta paintings.

Artistic aspect / perspective
• Define the painting based on artistic elements and principles.
 • Fluent Lines
• Smoothness in Colours Exceptional Tonal gradation, etc.

• Question in Sample

Q. Paper Q. Describe the characteristics of Shiva and Sati.

Ans: Beautiful Painting by Nandlal Bose.

• Work based on Indian mythology.

• Dramatic depiction of narrative.
• Monochromatic Colour scheme
• Placement of figures

Human Life Values

• Self-respect and dignity

• Love for husband.

Painting 4 – Meghdoot
• Title - Meghdoot
• Artist - Ram Gopal Vijayvargiya
• School - Bengal School
• Time Period - 1940 A.D.
• Medium - Watercolour on Paper
• Technique - Tempera and Wash
• Courtesy - Lalit Kala Academy, New Delhi

• Subject Matter

• The painting Meghdoot is based on the character of a play "Meghdoot" which is

written by Kalidas.

Story - Meghdoot

• Meghdoot is a story of a Yaksha, who was exiled by his master King Kuber for one
year for neglecting his duties.
• This poem is set about eight months after the exile, when the Yaksha yearning for his
beloved, convinces a passing cloud to become his messenger and carry his message to
his beloved wife awaiting his return.
• This painting is depicted with the pain of love in separation which is very clearly
visible on the face of the Yaksha, male character.
 About the Artist -Ram Gopal Vijayvargiya

• This painting is an outstanding work of Ram Gopal Vijayvargiya. He was an excellent

painter, as well as a writer and poet.

Description

• This is a painting from the Meghdoot series, which was one of his favourite subjects.
• The artist has drawn a series of 50 - 70 paintings.

• Description - Character

• In this painting, a handsome male figure is shown sitting on the rocks, with the clouds
around, in a very emotional mood.
• He is shown with tears in his eyes as he longs for his beloved.
• He is writing his feelings on the rock with his right hand.
• He is holding a white flower in his left hand very delicately.
• This painting is depicted with the pain of love in separation which is very clearly
visible on the face.
• His features are beautifully moulded with youthful softness.
• Half-closed eyes, thin shaped arms and long tapering fingers which is commonly seen
in the human anatomy of Bengal school paintings.
• Gracefully carved body of the Yaksh.
• He is wearing a yellow colour dhoti with a cloth draped on his left shoulder and upper
part of the body is bare.
• The figure is wearing earrings and necklace of impressive pearls.

Description - Background

• The background of the painting is well composed with dark blue sky, three birds
flying and a hut is shown behind the cluster of trees.
• Two wave - like clouds painted in sky blue are swirling into the composition from
back and front towards the Yaksha.
• The colours are soft and light giving this painting a subtle glow.
• The human figure is drawn in perfect proportion.

Human Life Values

• Emotion of loneliness.
• Emotion of love
• Emotion of commitment and faithfulness.

Sample Paper Question

• Q. Name your favourite artist from Bengal School and describe his artwork.
o Write a note on the use of Indian themes to promote Indian revivalism in art.

Answer. We have studied Shiv and Sati, Radhika and Meghdoot - all these paintings are
Indian themes and based on Indian Literature. So you can explain any one painting in detail!
 MODERN TRENDS IN INDIAN ART
Painting 1 - Rama Vanquishing the Pride of the Ocean
• Title - Rama vanquishing the Pride of the Ocean
• Artist - Raja Ravi Verma
• Time Period - Late 19th Century
• Medium - Oil colours on canvas
• Collection - Chitrashala, Mysore, Karnataka

Theme

• This is a puranic (ancient Mythological stories) theme painted by Raja Ravi Verma.
• This painting is a beautiful mythological oil painting, and is an episode from
Maharishi Valmiki's Ramayana.

Story

• This scene is taken from Valmiki Ramayana, where Rama needs to build a bridge
(Setu) in Southern India to the Island of Lanka for his army to cross the ocean.
• After preparing his forces to recover Sita, Rama and his army were held up by the
ocean.
• Ocean God didn’t allow them to build a bridge over it.
• Lord Rama threatens the Water God, Varuna that he will dry the ocean from his bow
and arrow to construct the bridge over it.
• This painting depicts Rama’s anger for the ocean for not giving him a way to reach
Lanka.

Composition

• Rama has been shown on a rock of the shore near ocean, in angry mood holding a
bow in his left hand and arrow in his right hand.
• Rama is shown in white dhoti, with bow and arrow in his hand.
• He is holding a bow in his left hand and is ready to place an arrow on the string of the
bow from his right hand.
• Angry Rama is standing sternly, his face shown in profile with eyes popping out.
• Shri Rama, being angered, takes up his bow and arrow and warns the ocean to
eradicate that.
• A bolt of lightning in the dark cloudy sky enhances the effect of the upcoming rage of
Rama.
• Strong winds are depicted by flying clothing.
• Rama's clothes are fluttering to show the strength to the wind blowing over the ocean.
• The waves hitting the rocks at the shore where Rama stands forms thick foam.
• Angry Rama is standing sternly, his face shown in profile with eyes popping out.
• Rama is shown as a well-built young man, with anger seething through his eyes.
• Three human figures can be seen in the middle of the distant waves.
 • Lord Varuna, represented by the large figure in the centre, is shown raising both
hands in requesting him no to dry the ocean.
• While two small shapes represent the Gods of Aquatic creatures who are terrified and
pleading Shri Rama to forgive their creatures.

Background

• The sky is painted in dark colours.

• The contrast between the texture of solid rocks where Ram is standing and the
anxious sea is rightly portrayed.
Raja Ravi Verma
• Raja Ravi Verma was one of the first Indian painters to use oil paints and master the
art of lithographic reproduction of mythological subjects.
• This painting manifests the effect of light and shadow, the qualities of European style
of Art.

Aesthetic Appreciation

• The characters' expressions are portrayed to perfection.

• The colours used in the painting are soothing. The composition is well-balanced and
dynamic.
• Natural elements are also used to portray the concept example, lightning, strong winds
etc.
• Lines, forms, proportions are impressive.

Human Life Values

• Always demonstrate humility

• Ability to take and execute hard decisions if somebody stops you for taking the right
path.

Sample Paper Question

Q1. Part 1 Raja Ravi Verma mastered the style of academic realism and used it to depict
scenes from popular epics like Ramayan and Mahabharata. The painting on epics became so
popular that many of them were copied as Oleographs and were sold in the market and
entered people's homes as calendar images.

Ans.

• Raja Ravi Verma the master of the academic realism style.

• Academic realism is that style which is influenced by the European style of Art and
the way he was doing oil paintings.
• He used to depict scenes from popular epics like Ramayana and Mahabharata.
• The painting on epics became so popular that many of them were copied as
Oleographs/prints and were sold in the market and people started using them as
calendar images.
• Earlier, only rich people could afford paintings.
Sample Paper Question Q. Part 2. Based on its compositional arrangement, why do you
like or dislike this painting or Painting by Raja Ravi Verma.

Ans. Mentions all the points towards why we liked this painting!

• Points discussed in in Aesthetical Parameters

• The lines are beautiful Expressions are portrayed to perfection
• The painting justifies the theme
• Anger, dramatic expression of the lightning, dark backgrounds, body proportions

Painting 2 - Mother and Child

• Title - Mother and Child
• Artist - Jamini Roy
• Time Period - 1930 A.D.
• Medium - Watercolour on paper Technique - Tempera
• Courtesy - National Gallery of Modern Art, New Delhi

Subject Matter

• This is a tempra painting on paper made by Jamini Roy

• The painting is an expression of unconditional love of the mother for her child.
• Mother and child both have found fulfilment in each other.
• The theme of the painting makes it a Timeless Painting.
• The concept of mother-child love is timeless. It has always been the same and will
continue to be the same.

Description / Compositional Arrangement

• This is a vertical painting. Lines shown are curvy and rhythmic.

• The mother is shown standing in a rhythmic posture, holding her baby in her lap.
• Mother's head is tilted towards the child.
• The mother is holding her child with her left hand on the left side of her waist.
• In this painting the faces are Cup shaped, eyes are elongated, a stylized influence of
the Pala School of Eastern India.
• The child also has similar eyes with thick eyebrows. Infinite love between a mother
and her child has been shown.
• Mother has a beautiful bun on her head. The child's head also has a little bun on top of
it.
• The mother is wearing a saree whereas the child is naked.
• The saree has a single line border and is very simple in design.
• Border of the saree is shown at different places.
• The background folk motifs depict the simplicity of rural life.
• On one side, we can see a plant-like structure made up of only lines.
• The decorated folk motifs show that they have been heavily influenced by Bengal folk
tradition.
• Jamini Roy borrowed volume, rhythm, decorative clarity and instrumentality of the
Pat painting in his artworks.
• Colour scheme is earthy but glowing.
• The artist palette is limited to a few earthy colours, mostly Indian red, yellow, ocher,
green, grey, vermillion, blue and lamp black has been used.
• The painter has established the best conjugation between the colours and lines.
• Lines are very sharp, thick and fully expressive.
• The painting's simple figure and two-dimensional nature are derived from Pat's
paintings, and his search for simplicity and pure form is visible.
• The simple frontal plane, glowing colours, flowing curves, and bold strips of different
colours in this Jamini Roy painting are indicative of Bengal folk art's influence.

Sample paper Question:

Q1. Who was the father of the folk renaissance in India who traveled to the country
side of Bengal to learn from folk artisans the expressive powers of their lines to create
an alternative vision of modern Indian identity in art. Name the artist and describe his
work on the basis of at least four elements of art.?

Ans. Painting name - Mother and Child, Artist - Jamini Roy was called the father of
the folk renaissance in India who created an alternative vision of modern Indian
identity. His paintings were deeply inspired by Bengal folk tradition.
Elements of Art Line - Forceful & Sharp Colour - Earthy Form - Simplicity of figure
Texture, Tones and space

Human Life Values

• Unconditional love of mother towards her child.

• Responsibility and care towards children.

Painting 3 - Haldi Grinders

• Title - Haldi Grinders
• Artist - Amrita Shergil
• Period - Modern Medium - Oil on canvas
• Time Period - 1940 A.D.
• Courtesy - National Gallery of Modern Art, New Delhi

Amrita Shergil
• A "pioneer" in Modern Indian art.
• Born in Budapest, Hungary
• Mother was Hungarian and father was an Indian punjabi Sikh.
• She has painted a lot on the themes of lives of Indians in the villages.
 Subject Matter

• This painting is an honest portrayal of a domestic Indian household.

• It shows women doing a very routine chore of grinding turmeric, a common spice
used in every Indian cuisine.

Composition or Description

• Here we see the view through 2 tree trunks that frame the main figures to bring them
into focus.
• The two women sitting in profile are grinding on a stone grinder that is operated
manually in a traditional style.
• Three figures are there in the center of the picture sitting in profile.
• The two women with covered heads sitting in profile are grinding on a traditional
stone grinder that is operated manually.
• The work of grinding haldi is being carried out in the shade of trees.
• There is a young girl sitting next to them, resting her back on the tree trunk.
• The fourth woman’s head is visible at the far end of the composition which is veiled
and unclear.
• The sarees worn by the ladies are bright yellow, red, and white in colour.
• Their heads are covered and faces are dark with no emphasis on facial features and
expressions.
• Whereas the jewellery worn in their feet in show in detail.
• The back ground is dark, bring all the focus on the figures in front.
• Contrast of dark & bright!
• The whole picture represents an actual setting of a village household and the life of
rural Indian household women.

Influence

• The female forms are simplified and abstract in a very modern style that she brought
with herself through foreign upbringing & training.
• The influence of Basohli and other miniature traditions is quite visible in the use of
colours in her works specially the details of leaves carry the influence of Rajput and
Pahari miniature paintings.

Colour Scheme

• The colours are flat & earthy with intense reds, ochres, browns, yellows, & greens.
• The bright and vibrant colours are of marked importance in this work of hers.

Aesthetic appreciation

• Her figures express a new visual reality.

• Showcases the scientific temperament and balanced approach of the Artist, Amrita
Shergil.
• Appreciation of elements - discuss about lines, colours and forms.
 Human Life Values
• Simple Living.
• Hard work.
• Unity is strength.

Painting 4 - Mother Teresa

• Title - Mother Teresa
• Artist - M. F. Husain - Maqbool Fida Husain
• Medium - Oil & acrylic on canvas
• Time Period - 1980's A.D.
• Courtesy - National Gallery of Modern Art, New Delhi

M. F. Husain

• He was one of India's most well-known artist.

• The Indian government honoured him with the Padma Shri, Padma Bhushan, and
Padma Vibhushan awards.
• He was one of the founding members of Bombay Progressive Artists' Group. M. F.
Husain was called the 'Picasso of India'.

Subject Matter

• This painting is from the series 'Mother Teresa' by the artist.

• The artist has given a tribute to the great lady Mother Teresa, who served the poor and
the homeless throughout her life.

Description/ Compositional Arrangement

• It is a horizontal composition and divided into three parts by two uneven vertical
pillars.
• The colours of the pillars are yellow and light brown.
• On the left side, mother is seen taking care of an infant on her lap.
• The central figure of the seated mother has a grown-up, helpless, and sick man
horizontally resting on her lap.
• Mother's raised right hand, indicating a blessing gesture.
• Behind the mother's head, there is another saree-clad head with no blue border.
• It could be a symbol of other nuns who did similar work for the poor and needy.
• In the third part, another kneeling figure of a women is shown touching the arm of the
sick man.
• This painting depicts a symbolic representation of the figures with no faces.
• This painting depicts Mother Teresa in a symbolic representation where she is draped
in a white saree with bold blue border.
• The mother draped in a white saree with bold blue border is having a faceless figure
to establish her Universal Motherhood for which caste, colour or religion is not
important.
• This painting shows the selfless, ageless person.

Description - Colour Scheme

• Mother's figure where she is holding the infant is depicted wearing a yellow saree
with a blue border.
• The central figure is dressed in white saree with a blue border.
• The sick man is painted with a brownish red colour also known as Indian red.
• Behind the mother's head, there is another woman in white saree - with no blue
border.
• The saree and its colours are symbolic of the nuns of the orphanage and homes run by
Mother Teresa.
• Dark and light brown colours are used in the painting.
• The colours are basically flat with no shading and mixing.

Description/ Compositional Arrangement

• The mother's broad expanse of the saree shelters both the sick man and the women
figure.
• Mother Teresa is portrayed as a 'Guardian Angel' .

Influence

• Hussain's paintings were influenced by Roman stained glass or mosaic.

• This painting speaks of the artist's familiarity with European art, especially, the
famous sculpture of Italian Renaissance master, Michelangelo's Pieta.

Human Life Values

• Unconditional love and care for the poor and the destitute.
• Selfless service of the poor and needy.
• Rise above religion and work for the welfare of the society.

MODERN TRENDS IN INDIAN ART

Graphic Print 1 - Children
• Title - Children
• Artist - Somnath Hore
• Time Period - 1955 - 1970 A.D.
• Technique - Etching & Aquatint
• Medium - Copper Plate
• Courtesy - National Gallery of Modern Art, New Delhi
 Somnath Hore

• Somnath Hore was an Indian sculptor and printmaker.

• Born in 1921, in Chittagong, Bangladesh.
• He was a Lecturer at the College of Art & Draftsmanship, Calcutta.
• The influence of the Bengal famine, the communal riots, and the destruction of War
are clearly visible in his works.

Subject Matter

• The artist has depicted the pain, struggle, starvation, sufferings, wounds during the
war and the Bengal famine.
• The print is about the injustice of the society towards the weak and innocent people.

Description/Compositional arrangement

• In the print, are shown Five meek figures standing close to each other.
• The print is composed in black & white, as a protest against the rich & ruling class.
• The children are abnormally thin with rib cages and bloated stomachs, large heads &
white horrifying hollow eyes shown suffering from starvation.
• A Child is dressed in meagre clothes wearing a necklace.
• Their mother, who is also malnourished, is standing behind them with her protective
hands on their shoulders.
• In the back ground, there appears a tall ghostly figure with hands on both sides of the
head.
• A girl with her back is standing on the left side of the composition.
• The artist has not highlighted the background in order to keep his main concern on the
figures.
• This is a linear composition.
• The human forms are divided into cubist style geometric planes.
• Aesthetical parameters

Questions relating to the print

• Aesthetical parameters
• What is the theme of this painting?
• Which artist has portrayed poor and deprived society in their works? Also, explain
how has the artist has expressed the above in his work.

Human Life Value

• Empathy and love for those who are impoverished and in need.
• Economic equality is required in society so that everyone has access to basic
essentials such as food, clothes, and shelter.
 Graphic Print 2 – Devi
• Title - Devi
• Artist - Jyoti Bhatt
• Medium - Brass Plate
• Technique - Etching
• Time Period - 1970's A.D.
• Size - 22.5 by 18 inches
• Courtesy - National Gallery of Modern Art, New Delhi

Jyoti Bhatt
• Jyotindra Manshankar Bhatt (12 March 1934), better known as Jyoti Bhatt.
• He studied painting under N. S. Bendre and K.G. Subramanyan at the Faculty of Fine
Arts, M. S. University (M.S.U.), Baroda.
• He also studied fresco and mural painting at Banasthali Vidyapith in Rajasthan.
• He is best known for his modernist work in painting and printmaking and also his
photographic documentation of rural Indian culture.
• The Indian government honored him with the Padma Shri award.
• His etchings, intaglios, and screen prints have explored and re-explored a personal
language of Indian culture symbols such as the peacock, parrot, lotus, stylized Indian
gods and goddesses, and endless variations on tribal and village designs.

Subject Matter

• The portrait of Devi is centrally placed as an iconic image. The two-dimensionality of

words and motifs around the portrait expresses the Tantric philosophy, evoking the
power of self-evolution and self-involution, seeing reality as the intertwining dynamic
and static principle of Shakti.
• Devi is a print glorifying the World Mother, Shakti or Devi.
• Shakti is known in many forms. She is the energy giving power behind all creation.
This power lies in the form of Kundalini.
• This power lies in the form of Kundalini, a serpent goddess who lies asleep at the base
of the spine, coiled three and a half times around the first chakra.
• Deep meditation, enlightenment, and bliss are said to guide Kundalini awakening.
• When awakened, this power rises through the spine and heart, to the brain and unites
herself with the Supreme Being, Lord Shiva where he resides.
• It's a spiritual process that leads to enlightenment.

Description

• The composition is a combination of two rectangles (rounded at corners) made with a

coiling and spiralling serpentine form of Kundalini.
• The upper rectangle has a bold face in its centre like Durga and the lower has two
circles with one human figure each, separated by a tail.
• The upper rectangle has a bold face in its centre like Durga and the lower has two
circles with one human figure each, separated by a tail.
• The figures are curled within the dimensions of the circles.
• A brilliant vermilion (Red) Bindi catches the eye on the forehead of the face of the
Devi on the upper rectangle, symbolising Indianness and womanhood.
• The wide-open eyes are typically like that of Durga idol.
• On each side of Devi's head in the shape of decorative pendants.
• There is interesting writing on both pendants, one has the Artist's name on it and the
other has "Pseudo Tantric Kundalini'' written on it.
• The pendant, earrings and flowers on the devi's cheeks lend a feminine grace to the
image.
• The flowers drawn on the cheeks and the earrings are part of Bhatt's stylization of the
goddess face.

Human Life Values

• Importance of spirituality so that we can become one with the Divine. Union with
Supreme is the ultimate goal of any human being.

Short Questions
• Write a short note on the painting by Jyoti Bhatt.
• What does the Red Bindi denote in this painting?
• What is the theme of the painting?

Graphic Print 3- Of Walls

• Title - Of Walls
• Artist - Anupam Sud
• Technique - Lithograph
• Time Period - 1982
• Courtesy - National Gallery of Modern Art, New Delhi

Anupam Sud

• She is one of the finest printmakers and painters among the new generation of artists
of modern India.
• Born in 1944 in Hoshiarpur, Punjab.
• She had studied printmaking at the Slade school of Fine Arts, University College
London.
• The inspiration for her work was the different experiences of life, the fake people of
the society, human failures, male and female sexuality and individuality.
• She has received various awards including the President's Gold Plaque and the
Sahitya Kala Parishad award.
• She is also one of the Founder members of Group 8, which was formed in 1968 to
promote and sustain printmaking as an independent and expressive art form.
 Subject Matter

• This print is the amalgamation of lithograph technique and photographic image.

• This work is often interpreted as the representation of poverty and loneliness.
• This work is often interpreted as the representation of poverty and loneliness and
shows the Indian women entrapped in perpetual drudgery.
• This print is a remembrance of the past days of her childhood.
• The faceless lady is portrayed in such a manner as if she is representing the mystery
of time and lost in the present world.

Description/ Compositional Arrangement

• This painting depicts the figure of a lonely woman seated on the pavement before a
dilapidated wall.
• A hopeless poor faceless woman is sitting near the bricked wall with bare feet and is
wearing an untidy looking saree. Women is wearing white saree.
• Here is a bricked wall at the back of the women on which drawing are faintly drawn.
• On the brick wall, drawings are displayed, as if they were scrible art done by small
children.
• All single line drawings are made with plane triangle, circle, and rectangle.
• This represents the woman's participation in these jovial and lively activities in the
past.
• She's going down memory lane, recalling the times when she used to participate in
these activities.
• Her face has been shown with black colour without any expression means she has no
existence now in this living world or she has lost her significance.
• The woman is faceless as if representing the mystery of time and speaking of a void
that lies somewhere within her.
• Two bare legs and a foot can be seen in front of the women in the foreground, as if a
man is lying on the ground with legs crossed one on another.
• The woman's face is missing, implying a brooding and sad expression. In the lower
part, we only get a glimpse of a poor man sleeping on the ground, which contrasts
with the clothed women and adds to the print's sadness.
• The artist has manifested the truth, which is the development of a lady's life, through
this creation.
• It is the protest against the society for such discrimination the women.
• The wall depicts her life before she became older.
• She remembers her childhood fondly as a time when she was carefree, innocent and
unaffected by responsibilities.

Human Life Values

• The human life value we get to learn from this graphic print is need for social equality
for women in our society.
 Graphic Print 4 - Man, Woman and Tree
• Title - Man, woman and tree
• Artist - K. Laxma Goud
• Medium - Paper Technique - Etching and aquatint
• Time Period - 1980-1990 A.D.
• Courtesy - National Gallery of Modern Art, New Delhi

K. Laxma Goud

• He was born on 21st August 1940 at Nizampur, Andhra Pradesh.

• He was one of the finest painters and print maker of modern India.
• He drew inspiration from his childhood memories of rural life, which influenced his
life and became the foundation of his art.
• He has worked with mediums such as oil painting, water colour, etching and aquatint,
pen and ink etc.
• But he is recognised for his unique style and powerful line drawings and graphic
prints.
• In 2016, the Indian government bestowed the Padma Shri award on him.

Subject Matter

• It's a depiction of village life based on artistic memories of rural and tribal life from
childhood.
• A rustic version of a man, woman, and tree has been presented by the artist as a
vertical graphic print that expresses human emotion and deep attachment to nature.

Description/ Compositional Arrangement

• It is a vertical graphic print which expresses human emotion and deep attachment
with nature.
• In the background of this rural scene, there are four tall trees.
• One on the left side and three trees on the right side which have branches only at the
top of the trunk
• In the foreground on the right side a women clad in a saree is sitting under the single
tree.
• She is wearing traditional ornaments like nose ring, a necklace, two bangles in both
arms.
• Man is sitting opposite to her under another tree looking at her.
• Both of them are separated by small plants flowers and shrubs
• They are simple villagers of South India.
• Soft palate of monochrome Grey's in which human and nature are in complete
harmony.
• Light blue and green colour are used to depict the whole print expressively and
impressively
• The man and woman seem to be deep in conversation, as if they have forgotten about
the outside world and have become one with nature.
 Human Life Values
• Love towards nature
• Simple living and becoming one with nature

MODERN TRENDS IN INDIAN ART

Sculpture 1 - Triumph of labour
• Title - Triumph of Labour
• Artist - D.P. Roy Choudhury - Devi Prasad Roy Choudhury
• Time Period - 1953 A.D.
• Medium - Bronze and Cement
• Courtesy (Bronze) - Marina Beach, Chennai Courtesy (Cement) - National Gallery of
Modern Art, New Delhi

D. P. Roy Chowdhury
• One of the most renowned artist and administrators of the 20th century.
• D.P. Roy Choudhury was born in 1899 at Rangpur now at Bangladesh.
• He was a realistic artist and well known for his monumental sculpture installed in the
public places like Delhi, Chennai, Kolkata etc.
• He was a versatile artist in painting and sculpture but he excelled in sculpting with
clay plaster of Paris and bronze casting.
• He was the first Indian to sculpt in bronze which was a popular Western medium.
• He was highly influenced by the works of French sculptor Auguste Rodin.
• He was awarded with Padma Bhushan by the government of India.

Subject Matter

• The triumph of labour sculpture represents labour at work and the human spirit, which
triumphs over hardship with Unity.
• The sculpture also marks the celebration of Labour Day on 1st May every year.

• Description

• It shows four men trying to move a rock, rendering the importance and contribution of
human labour in nation building.
• It draws our attention towards the hard-physical work of the labour class.
• It shows four men trying to move a rock, rendering the importance and contribution of
human labour in nation building.
• It draws our attention towards the hard-physical work of the labour class.
• These four figures are perfect Anatomical studies of men engaged in an extremely
difficult art of lifting a huge rock.
• Their strength and effort can be felt through their actions and strained body muscles.
• Each muscle of the body signs in sweat and physical exertion
• Their upper bodies are shown naked.
• These labourers are dressed in loincloths, with two of them covering their heads with
a piece of cloth.
• Two are bent forward, applying force with their hands, while the other two are using
the wooden log to pull the boulder away from its base.
• All of them are engaged in their work with full force.
• One prototype of this sculpture has been installed at the main entrance of the National
Gallery of Modern Art in New Delhi.
• This is a splendid sculpture depicts an inspiring example of teamwork of labourers
engrossed in a strenuous work.
• This statue depicting the dignity and triumph of labour exemplifies the soul and sweat
of a back- breaking effort

Human Life Value

• Hard work done by labourers and dignity of labour

• Unity is strength
• Teamwork and coordination to win over the impossible

Sculpture 2 - Santhal Family

• Title - Santhal family

• Artist - Ramkinkar Baij
• Time Period - 1938
• Medium - Cement and Concrete (Sand and Gravel)
• Collection - Kala Bhawan, Shantiniketan

Ramkinkar Baij

• One of the pioneers of the modern India sculpture.

• Ramkinkar Baij was born in 1910 in a poor family in Bankura district of West Bengal.
• He was a self-taught artist.
• He got admission at Kala Bhavan Shantiniketan and became a disciple of Nandalal
Bose.
• Initially he started making sculpture which were innovative in subject matter,
expressionist in character, experimental, full of movement and energy and were
personal in style.
• Working with expensive materials such as metal and stone was never easy for him, so
he chose locally available materials for his sculptures such as red gravel, sand,
cement, and concrete to create dynamic figurative open-air sculptures in and around
Kalabhavan.

Subject Matter

• Santhal family is a free-standing outdoor sculpture.

• Because the sculpture is made in the round, we can see it from all sides.
• It depicts a peasant family from a tribal tribe.
• A poor family that is migrating with their belongings to another location in search of
work.

Description/ Compositional Arrangement

• Four members of the Santhal family are depicted in this sculpture. \

• The members shown are father, mother, two children and a dog.
• The man is lifting a bahangi on his shoulder made for the purpose of carrying loads.
• Bahangi is the scale pan which is built using a bamboo stick and two baskets hanging
on both sides to establish balance.
• He has loaded the back-scale pan with his frugal possessions., and he has lovingly
placed his baby in the front scale pan to establish balance.
• The woman is walking beside the man and has a load on her head.
• She is holding a child on to the left side of a body with her arm.
• A dog is walking alongside the Santhal family.
• Perhaps it represents a family migrating from one region to another, carrying all of
their frugal possessions with them.
• It is evident from their insufficient, body-clinging clothes and little luggage that they
are extremely poor.
• The man is wearing the rolled up gamchha on his head and the lady has a rolled up
mat on the top of the basket
• The sculpture is placed on a low pedestal making us feel as if we are part of the same
space.
• The significance of this work is that it is regarded as the first public Modernist
sculpture in India.
• The artist has avoided traditional medium like marble, wood or stone and has
preferred cement, the symbol of modernization.
• The sculpture is made with laterite pebbles mixed with cement just enough to bind it
together to give it a granular texture.
• This sculpture is iconic because it gave a dignity and grace to the common people.
• It shows a scene of a Santhal man carrying his children in a double basket joined by a
pole, and his wife and dog walking alongside.
• Pebbles are mixed with cement to give the sculpture a granular texture.
• The figures textured bodies have a symbolic significance.
• This contrasts with the surrounding environment as well.
• We are in an open environment where we can see the textured bodies.
• The figures are taller than a normal human life.

Human Life Values

• Family values of togetherness and unity.

• Care, love and affection of parents towards their children.
 Sculpture 3 - Cries Unheard
• Title - Cries unheard
• Artist - Amarnath Sehgal
• Time Period - 1958 A.D.
• Medium - Bronze
• Courtesy - National Gallery of Modern Art, New Delhi

Amarnath Sehgal
• Amarnath Sehgal, a renowned Indian modern artist born in Pakistan.
• He shifted to India during partition in 1947.
• He was inspired by French sculptor Henri Matisse.
• The artist witnessed the riots that led to the partition of India and Pakistan.
• The killing of innocent people had a deep impact both on his mind and heart.
• This untimely influenced his artistic work.
• The subject matter of his works revolves around the social issues, individual
freedom, human dignity and the political violence.
• He felt that the society's attitudes toward a common man was void of empathy, love
and compassion.
• Through his works he has shown deep anguish to awaken the consciousness of the
society towards the miseries of mankind.
• Government of India honoured him with the Padma Bhushan Award.

Subject Matter

• This sculpture is made of bronze.

• The sculpture cries and had depicts a poor family who have raised their hands and are
shouting for help in the time of distress
• Their expressions also symbolize their suffering and exploitation of them by the
society.
• It shows the injustice and exploitation done by rich and powerful people who have
been exploiting the weaker section of the society from a long time.
• The artist pays homage to the millions of destitute families in need of assistance
whose cries go unheard.

Description

• Cries unheard, a famous sculpture by Amarnath Sehgal won him National acclaim
and fetched him the President's Gold Plaque award in 1958.
• In this the artist has depicted a deplorable condition of a family consisting of a man,
women and child.
• All the three figures have raised their heads and hands as if trying to the almighty to
help them in their time of distress.
• Their helpless expression suggests their sufferings at the hands of unjust people in the
society who have exploited them.
• The figures sculpted here are tall and stretched with hollow, dull, meek and distorted
faces.
• The artist only uses abstraction in which three figures are stick like and shown in flat
rhythmical planes, yet it is easy to understand them as a family - husband, wife and
child.
• The artist has shown poverty and its effects by three figures - father, mother and child
of the same family.
• Long figures with hollow dented cheeks, deformed faces, and raised hands to the sky
as if screaming, "Oh God!" nobody cares about us on this planet; where there is
exploitation, tyranny, and corruption, and they are easy prey.
• The scream of this statue was so loud that in 1958, Amarnath Sehgal was awarded
president of India's 'Gold Plaque' Award.

Human Life Values

• Empathy and love towards the poor and the needy.
• Need for economic equality in society.

Sculpture 4 - Ganesha

• Title - Ganesha
• Artist - P.V. Janakiram
• Medium- Oxidized Copper Tin and wires
• Time Period - 1970
• Collection - National Gallery of Modern Art, New Delhi

P.V. Jankiram
• P.V. Janakiram was born in Madras in 1930.
• Janakiram was influenced by the traditional Temple sculpture of South India,
especially the metal draped temple doorways.
• And developed a unique expression for his sculpture in which he used beaten metal
sheets to create his two-dimensional pictorial sculptures.
• He is known for originating this technical aspect of sculpting.
• Subject matter of Janakiram were the stories from Ramayana, Mahabharta, Hindu
deities, nature and Christianity.
• He received many awards and honours including the National Award in 1964 and
1966 from Lalit Kala Academy, New Delhi.
• He experimented with the "open-endedness " quality of indigenous workmanship.

Subject Matter

• The sculpture Ganesha is an abstract sculpture it depicts as the name suggests the
hindu god Lord Ganesha.

Description

• Ganesha is a famous work in oxidized copper is a two-dimensional or frontal

sculpture
• The artist's inspiration from the sculptures in temples of South India is Apparent.
• He has deliberately tried to revive the already existing traditional form of idols.
• This sculpture depicts Lord Ganesha in a dancing posture with six hands.
• He is holding Veena with two hands
• While he is holding a Shankh, Chakra, Gada and Padma in the other four hands.
• Lord Ganesha's body is balanced on left foot bent at the knee.
• The right leg is also bent, resting close to the ankle to the left one.
• The trunk is a broad and Flat plane.

Aesthetical parameters

• Dancing Ganesha with six hands. Ganesha is playing Veena.

• Details on the sculpture and technical blending of material, reveal his meticulous
craftsmanship.
• He has used sheets of copper to create pictorial sculpture as free standing forms and
ornamented the surface with linear elements.
• These linear elements work as facial features and decorative motifs to suggest
religious icons, inviting intimate contemplation.
• This sculpture is an amalgamation of folk and traditional craftsmanship.
• It reveals his understanding of traditional imagery.
• He has elaborated linear details into overall form in lyrical stylisation.

Human Life Values

• Love and devotion for the divine.