The Romanticization of Indian reality by the then Company Painters and the mannered portraits of Ravi Varma and his ardent followers gave way to the Bengal School of Painting. Nandalal Bose, D.P. Roy Choudhury, Abanindranath Tagore, A.K. Haldar, Kshitindranath Mazumdar, A.K. Haldar and Kshitindranath Mazumdar were among the artists who belonged to this school. Those like Rabindranath and Gagnendranath Tagore preferred more personal idioms through Santiniketan Institute.
On the other hand, Benode Behari Mukherjee and Ramkinkar Baij opted to express their love for nature and its rhythms. Inspired by the spirit of Mahatma Gandhi's teachings, Jamini Roy drew his strength from the simplicity of Indian folk art. Another wave of change came in the 1930s from the bold, post-impressionistic colors of artist Amrita Sher Gill, and through the 'socially responsive' work of the Calcutta Group, a decade later.
During the pre-Independence era, and well into the 20th century, the propensity to question the Western thoughts became even more pronounced in the expression of ‘inward-looking’ Indian artists. In the 1930s, a wave of change arrived in the form of bold, post-impressionistic colors of artist Amrita Sher Gill, and through the 'socially responsive' work of the Calcutta Group. The country's partition and Independence in 1947 might have actually seemed like the catalyst for a form of expression to match the momentous occasion.
However, the so-called 'artists of transition' like K.K. Hebbar, Shiavax Chavda, Sailoz Mukherjea and N.S. Bendre were more engrossed in a contemplation of life's simpler, smaller pursuits through their art practice. The formation of Progressive Artists Group (PAG) was a turning point in the post-Independence period. K. H. Ara, M.F. Husain, S. H. Gade, S. Bakre, F. N. Souza and S. H. Raza were all determined to fashion an art entirely Indian, albeit modern. Their modernism was more in the spirit of the peculiar Nehruvian internationalism, largely relying on Parisian abstract Expressionism and post-Impressionism.
On the other hand, Benode Behari Mukherjee and Ramkinkar Baij opted to express their love for nature and its rhythms. Inspired by the spirit of Mahatma Gandhi's teachings, Jamini Roy drew his strength from the simplicity of Indian folk art. Another wave of change came in the 1930s from the bold, post-impressionistic colors of artist Amrita Sher Gill, and through the 'socially responsive' work of the Calcutta Group, a decade later.
During the pre-Independence era, and well into the 20th century, the propensity to question the Western thoughts became even more pronounced in the expression of ‘inward-looking’ Indian artists. In the 1930s, a wave of change arrived in the form of bold, post-impressionistic colors of artist Amrita Sher Gill, and through the 'socially responsive' work of the Calcutta Group. The country's partition and Independence in 1947 might have actually seemed like the catalyst for a form of expression to match the momentous occasion.
However, the so-called 'artists of transition' like K.K. Hebbar, Shiavax Chavda, Sailoz Mukherjea and N.S. Bendre were more engrossed in a contemplation of life's simpler, smaller pursuits through their art practice. The formation of Progressive Artists Group (PAG) was a turning point in the post-Independence period. K. H. Ara, M.F. Husain, S. H. Gade, S. Bakre, F. N. Souza and S. H. Raza were all determined to fashion an art entirely Indian, albeit modern. Their modernism was more in the spirit of the peculiar Nehruvian internationalism, largely relying on Parisian abstract Expressionism and post-Impressionism.
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