1. Bengal School Of Painting Was Done In The Mid Of 19 Century.

2. Under The Influence Of Principle E.B.Havell And Abanindranath

Indian Artist Started Giving Respect To The Traditional Painting
Of India And Stopped The Blind Copy Of Lifeless Western
Realism.
3. This Lead To The Birth Of Bengal School.
4. Bengal School Is More A Style Than The Regional Development.
5. It Is The Fist School To Represent Important Art Movement In
Modern India.
6. Bengal School Of Painting Is Also Called The Renaissance
School Or Revivalist School As It Was Both And Held Its Way
For Well Over Three Decades.
7. E.B.Havell Was The Principle Of Government Arts School Of
Calcutta Sold The Specimens Of European Painting And Replaced
Them By Indian Painting.
8. E.B.Havell Was Introduced To Abanindranath Appointed Him As
Vice Principle Of The Art School.
9. Within 10 Years A New School Of Painting Was Established With
The Help And Effort Of Both ,It Was Based On Indian Traditions
Which Became Bengal School Of Art.
10.Abanindranath Learn Watercolor Technique From Japanese
Artist Synthesized It With European Watercolor Technique To
Create A Novel Technique Which Was Called As Wash Technique
This New Method Of Tempera Mix With Wash Became The
Hallmark Of Bengal School And Marked The Departure From The
Traditional Method.
11.Under The Joint Effort And Patronage From Rabindranath , DR.
A.K. Coomaraswamy , Gangendranath , Sister Nivedita And Many
Other Art Lovers Gave Birth To The Society Of Oriental Art In
1907 To Encourage Traditional Indian Art Of Painting.
12.In1908 And Exhibition Of Painting Of Famous Artist Was
Displayed.
13.Lady Haring Ham On Her Visit To India Got The Painting Of
Ajanta And Bagh Caves Copied By Nand Lal Bose Same Was Also
Published In Indian Society London.
14.Exhibition Of Indian Painting Organized In Foreign Countries
Which Brought Name And Fame For Indian Paintings.
Effects Of Ajanta:
1. Linear Delicacy , Rhythm And Grace Of Ajanta Can Be Seen In
Bengal School Of Painting.
2. Full Of Traditional Style Of Painting.
3. Simple And Clear Painting Can Be Understood Easily.
4. Figures Are Delicate And Graceful There Is No Hardness And Has
Rhythm.
5. Wash Technique Used To Bring Harmony In The Painting.
6. Impact Of Mughal And Rajasthani School Can Be Seen.
7. Light And Shade Has Been Added For Softness To The Painting.
8. Colour Scheme Is Very Attractive With A Mixture Of Tempera
And Japanese Wash Technique Colours.
BENGAL SCHOOL -
JOURNEY'S END
• Name : Journey's End
• Artist: Abanindranath Tagore [Father Of Modern Indian Painting]
• Period : Modern
• Circa :1937 A.D.
• Medium : Watercolour On Paper
• Technique : Tempera And Wash
• School :Bengal School
• Courtesy : The National Gallery Of Modern Art, New Delhi
 .
1. Tired And Overloaded Camel On Edge Of Death.
2. Artist Is Showing Reflection Of Human Life Through This
Piece Of Artwork.
3. The Pain And Suffering Of The Animal Can Be Seen In The
Half Open Eyes Of The Animal.
4. Massive Load On Back Shows The Greed Of Master In
Exploiting The Slave.
 .
1. Background : Red , Brown And Yellow Wash Of Colours
And Sky Is Filled With Diffused Light Of Sunset.
2. Foreground :Painted In Darker Tone Of The Same Colour
To Intensify The Sense Of Pain.
3. Slight Blue Colour Is Used Where The Animal Is About To
Collapse.
4. There Is An Impression Of The Desert Giving A Very
Mystical Effect.
➢ It Is A Symbolic Painting : The Camel Who Is Almost About To
Fall And Is Gasping For His Last Breath In The Sunset Time
Has Relevance Also With The Life Of The Human Being. No
One Is There To Help Him At That Time And Blood Is Coming
Out Of His Mouth. The Weight Which He Has Been Carrying
All His Life For His Master Is Still There On His Back And He
Is At This Time Also Trying To Save The Load From Getting
Damaged. He Is Hopeful Of Standing Once More And
Delivering The Goods To His Master. He Is On His Knees With
His Back Legs Upright And His Head Slightly Raised As If He
Is Making Another Attempt To Stand. His Life's Journey Is
About To End With The End Of The Day.
➢ Human Value : This Shows The Human Value Of The
Animal. Inspite Of The Greedy And Cruel Behaviour Of His
Master The Animal Still Selflessly Loves Him And Wants
To Serve Him With Great Responsibility Till The End Of
His Life.
BENGAL SCHOOL –
SHIVA AND SATI
• Name : Shiva And Sati
• Artist : Nandalal Bose
• Period : Modern
• Circa : 1947 A.D.
• Size : 43 X 56 cm
• Medium : Water Colour On Paper (Tempera)
• Colour : Sepia (A Reddish-brown Colour Associated
Particularly With Monochrome Photographs Of The 19th
And Early 20th Centuries)
• School : Bengal School Modern Painting
• Collection : National Gallery Of Modern Art, New Delhi
➢ This Is A Vertical Painting.
➢ The Painting Is Based On One Of The Mythological Event Of
Lord Shiva And His Wife Sati.
➢ The Painting Is Inspired By The Painting.
➢ The Title Of The Painting Is Suitable For The Painting.
➢ Shiva Is Seen Sitting On The Ground And Carrying Goddess
Sati In His Arms.
➢ It Is Monochromatic Painting With Predominant Use Of
Brown Colour.
➢ A Halo Of Light Yellow Colour Has Been Shown Behind
Shiva's Head.
➢ In The Centre Of The Picture ,Lord Shiva Is Sitting With A
Sad Face And Is Looking Helplessly At His Wife ,His Hands
Are Stretched And Is Holding His Wife's Who Appears To
Be In Unconscious State.
➢ Sati Is Lying On The Left Knee Of Lord Shiva. Her Face Is Pale
And Has Her Eyes Closed.
➢ Sati Is Wearing Necklace, Earring, Armlets And Bracelets.
➢ Her Red Saree Is Loosely Covering Her And Is Also Spread
Around On The Floor.
➢ Shiva's Forehead Is Looking Bright With The Usage Of White
Colour On The Forehead .His Hair Is Tied With Bun On The Top
And Is Spreading Behind His Both Shoulders At The Back. He Is
Wearing Necklace And A Snake Is There Around His Neck.
➢ The Body Of Lord Shiva Is Looking A Little Bulky.
Foreground Of The Painting Is Blurred Using Violet,
Brownish And Whitish Colours.
➢ Beautiful Usage Of Lines Have Been Done.
➢ The Smoothness And The Tone Of The Painting Is
Praiseworthy.
➢ Intensity Of Colours Used Is Dull.
➢ Tonal Gradation Of Colour Has Been Done Beautifully.
➢ Yellowish, Brownish, Violet And Red Colour Of Various
Shades And Tones Have Been Used Predominantly.
➢ In The Background ,The Light And Dark Combination Of
Brown And Yellow Colours Have Been Used To Show Sky
Which Is Merging With Earth's Surface.
➢ Earth's Surface Has Been Given Undulating Shape Through
Violet, Brown And White Colours.
➢ Write The Name Of The Painting By Nandalal Bose :
Shiva And Sati
➢ Name The Artist Of Shiva And Sati : Nandalal Bose
➢ What Was The Period In Which Shiva And Sati
Painting Was Made : 1908 – 1950
➢ What Is The Medium Of The Painting Shiva And Sati :
Water Colour In Paper (Tempera)
➢ The Colour Used In Shiva And Sati Is Called : Sepia
➢ To Which School Does The Shiva And Sati Belong To :
Bengal School Modern Painting
➢ Where Can You Find The Painting Of Shiva And Sati :
National Gallery Of Modern Art, New Delhi
➢ Painting In Which Shades Of One Colour Are Only Used Are
Called : Monochromatic
BENGAL SCHOOL –
RASA LILA
➢ Name : Rasa - Lila
• .
➢ Artist : Kshitindranath Majumdar
➢ Medium : Watercolour On Paper
➢ Technique : Tempera And Wash
➢ Circa : 1926 A.D.
➢ Period : Modern
➢ School : Bengal School
➢ Collection : The National Gallery Of Modern Art ,New
Delhi
➢ Shows The Rasa Lila Of Krishna With Gopis .
➢ It Is Based On Dance Of Gopis Who Are In Love With
Krishna.
➢ Rasa Lila Means Dance Of Krishna With Gopis And So
Subject Matter Is Justified .
➢ Just Like Emerald Shines In The Mid Of Other Gems In The
Same Way Krishna Is Shining In Mid Of Gopis.
➢ The Movement Of The Steps ,Hand ,Smile, Contraction Of
Eyebrows ,Dancing Hips ,Heavy Heaving Breast, Locks Of
Hair Covering Their Forehead ,Drop Of Sweat And Loose
Garments Of Them Singing A Song In The Background Of
Coloured Lightning In The Dark Sky .
➢ This Is The Perfect Depiction Of Rasa Lila Gopi.
➢ The Plait Are Shaking So As To Show That They Are
Moving.
➢ They Have Pinned Their Hair With White Flowers.
➢ White Flowers Have Fallen On The Floor And These
Flowers Might Have Probably Dropped From The Tree
Which Is Above Them.
BENGAL SCHOOL
– RADHIKA
➢ Name : Radhika
.
➢ Artist : M.A.R. Chughtai
➢ Medium : Water Colours On Paper (Tempera)
➢ Technique : Tempera And Wash
➢ Circa : 1940 A.D.
➢ Period : Modern
➢ School : Bengal School
➢ Collection : National Gallery Of Modern Art, New Delhi
➢ Based On A Typical Girl In Standing Pose Going Out Of A
Room.
➢ She Is Feeling Shy.
➢ Radhika Is Shown As Delicate And Full Of Love, Flexibility
And Grace.
➢ Her Posture Is Romantic.
➢ She Is Delicately Holding Lotuses In Both Hands And
Showing Her Delicate Nature.
➢ Her Left Foot Is Forward And Toe Is Shown Nicely While
The Right Foot Is Shown With Three Fingers Of The Foot.
➢ Her Left Hand Is Bent Normally Near Her Neck And Her
Right Hand Is Folded In A Typical Pose & She Is Holding
Lotus Flower In Both Her Hands.
➢ There Is An Ant Or A Honey Bee With Wing Sitting On The
Flower In Her Right Hand.
➢ The Picture Is Centrally Composed.
➢ In The Background There Is A Lamp Stand With Flame In
Yellow And Red Colour.
➢ Lamp Is Of Mughal Style.
➢ Use Of Bright Colour Is Uniform And Tonal Graduation Can
Be Seen.
➢ She Is Wearing A Blue Colour Lehenga And Red Blouse
With Yellow Orange Dupatta In Indian Style.
➢ Hair Is Grey Black And Brown In Colour And Is Flowering
Down Her Neck.
➢ Background Is Shown With Central Yellow Colour And
Orange And Brown At The Top And Bottom.
➢ Lines Are Rhythmic And Expressive.
➢ The Light Of The Lamp Is Illuminating Radhika And Giving
Her Divine Look.
➢ Ornaments Are Shown With Decorated Lines.
➢ The Brightness Of The Lamp Is Note Worthy.
➢ Each Fold Off Her Clothes Can Be Clearly Seen.
➢ Name Of The Painting By M.A.R. Chughtai : Radhika
➢ Name Of The Artist Of Radhika Painting : M.A.R. Chughtai
➢ What Is The Medium Of Radhika Painting : Watercolor On
Paper (Tempera And Wash)
➢ To Which School Does Radhika Belong To : Bengal School
Of Modern Painting
➢ M.A.R. Chughtai Was A Painter Of Which School : Modern
➢ Where Can You Find The Painting Radhika By M.A.R.
Chughtai : The National Gallery Of Modern Art, New Delhi
➢ Name : Meghdoot
➢ Artist : Ram Gopal Vijayvargiya
➢ Medium : Water Colours On Paper
➢ Technique : Tempera And Wash
➢ Circa : 1940 A.D.
➢ Period : Modern
➢ School : Bengal School
➢ Collection : National Gallery Of Modern Art, New Delhi
➢ It Is An Imagination Of Artist.
➢ It Shows Perfect Harmony Of Colours.
➢ Lovers Yaksha Yakshini Sitting On A White Clouds And
Flying High Above In The Sky.
➢ The Artwork And Rhythmic And Curly Colourful Lines
With Lovers Impress The Viewers.
➢ The Body Structure Of Yaksha Is Strong And Straight And
The Yakshini Is Curvaceous And Is Attractively Painted.
➢ The Feeling Of Love Can Be Seen On Their Face And This
Is Enhanced By Striking Doe Eyes And Smile On The Lips.
➢ Yaksha Is Wearing A Necklace And Earring Of Pearls And
Has Curly Hair.
➢ His Fingers Are Graceful And Is Holding Lotus Flower On
His Right Hand.
➢ He Is Wearing Green Colour Clothes Which Has Rhythmic
Pleats.
➢ Yakshini Is Sitting Behind Yaksha And Is Embracing Him.
➢ She Has Her Delicate Right Hand On His Chest And On Her
Face Is Resting On His Right Shoulder.
➢ She Has Her Delicate Right Hand On His Chest And Her
Face Is Resting On His Right Shoulder.
➢ She Is Wearing Yellow Clothes And A Chest Is Covered
With Pink Cloth.
➢ The Sky Is In Dark And Light Shades Of Blue.
➢ Clouds Are White , Grey And Violet Colour.
➢ Four White Birds Are In Front.
➢ Name : Tiller Of The Soil
➢ Artist : Nandalal Bose
➢ Period : 1937
➢ Medium : Tempera Watercolour On Paper
➢ Courtesy : The National Gallery Of Modern Art , New Delhi
➢ It Is One Of The 85 Haripura Panels Posters Made By
Nandalal Bose .
➢ The Themes Of These Decorative Posters Were Hunters ,
Warriors , Women At Work , Mother And Child ,
Carpenter , Cows , Bulls , And Other Village Animals.
➢ In This Poster Tiller Of Sail , A Farmer Is Shown
Ploughing His Field.
➢ He Is Dictionary Dressed And Shown Wearing A Folded
Dhoti And Turban On His Head. His Upper Part Is Bare.
➢ He Is Also Holding A Stick In His Right Hand .
➢ Is Oxen Are Healthy And Well Decorated With Clothes
And Ornaments .
➢ Their Raised Hooves Above The Ground Show That They
Are In Movement.
➢ Ground Of The Painting Is Light Golden Yellow In Colour .
➢ This Golden Yellow Colour Is Highlighted And Contrasted
With Dark Grey Colour .
➢ Bold White Patch Has Been Used For Oxen And For The
Cloth Of Farmer For Natural Touch .
➢ Use Of Bold Lines Has Been Done And The Lines Are
Rhythmic In Nature .
➢ Brown Colour Has Largely Been Used. Indigo And White
Has Been Against The Light Yellowish Golden
Background Showing The Simplicity Of Rural Life. Curves
Of Human And Animal Figures Have Been Painted Using
The Brush Strokes.
➢ Social , Economic And Intellectual Environment Of A Society Have
Always Been Portrayed By Art And Artistic Character Of An
Artist.
➢ Indian Freedom Movement Had A Great Impact On The Life Of
Normal People.
➢ This Influenced The Indian Artist Also And They Too Participated
In The Indian Freedom Struggle With Full Patriotism.
➢ To Show Their Patriotism They Chose To Make The Painting On
The Topic Of Freedom Struggle.
➢ Some National Leaders Like Mahatma Gandhi And Jawahar Lal
Also Took Help Of The Indian Artist To Arouse The Feeling Of
Freedom Struggle.
➢ It Showed His Nationalist Outlook And His Idea Of
Bharat. His Bharat Mata Was An Originator Of Roti
– Kapada – Makaan Theme Of Later India. It
Reflected The Growing Swadeshi Movement Of
India.
➢ He Portrayed A Young Bengali Women Holding
Objects Of National Aspirations In Her 4 Hands
Like A White Cloth, A Book, Sheaf Of Grain, Rosary.
They Were The Symbolic Of Food, Shelter, Clothing
And Education.
➢ Painted A Realistic Image Of Critical
And Very Down To Earth Mother India .
➢ She Painted Bharat Mata As A Poor
Peasant Women With Her Children , A
Boy In Her Lap And A Girl By Her Side .
➢ The Essence Of Her Theme Is Poverty
Of Rural India.
➢ Painted Bharat Mata Based On Song Where Mother
Land Is Referred To As “Bharat Janani”, Who Rises From
Blue Seas And Has Himalayas As Her Crowning Glory.
➢ He Has Painted A Lady Rising From Blue Water, Wearing
A Blue Saree, Holding Sheaf Of Ripened Paddy, Crown
On Her Head Symbolizing Himalayas.
➢ Painted The Portraits Of National Leaders
And Swaraj Movement . To Mark The
Occasion Of Mahatma Gandhi's Arrest For
Protesting In British Salt Tax . He Created
Black And White Print Of Marching Gandhi
. He Also Decorated Congress Pandals At
Lucknow , Faizpur , Haripura And Many
More .
➢ Made A Caricature Titled 'Peace Declared In Punjab’ On
Jallianwala Massacre .
➢ Documented Cave Art Of Ajanta, Ellora And Bagh.