Bengal school

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1. Bengal School Srikanta Goswami

2. origin After 1857 mutiny Indian art stood still Art survived in the smaller feudal states by the end of the century British ruler establshed art schools in Bombay, Madras, Calcutta They successfully persuade that there is no culture in India Few very talented artists emerged by this time like Raja Ravi Verma , Abanindranath Tagore, Gaganendranath Tagore, Rabindranath Tagore, Nandalal Bose, Jamini Roy They revived the Indian art tradition and started art movement They were supported by E. B. Havell then principal of Govt. art school Calcutta Encouragement and patronage by Rabindranath, Dr. A.K. Coomaraswamy , Gaganendranath , Sister Nivedita “Society of oriental art” in 1907 Nandalal , Asit Haldar , Samarendranath Gupta study Ajanta and Bagh Cave painting Huge acclaimation in European Journals New renaissance in Indian art Birth of Bengal School Spread in Delhi, punjab , Gujrat , lucknow , Jaipur, Hyderabad from Bengal Arists were influenced from the art of Ajanta, Bagh , miniature No clay modeling were encouraged Bengal school laid the foundation of Modern Indian art

3. Features of Bengal school First art movement of the country Show confidence in traditional values and rich heritage of India Japanese “wash” water colour technique Indian tempera technique Wash became the hall mark of Bengal School Painting topics: Religion, social events, Historical events, Birds and animals, landscape Colours are soft with-out Shadow Conventional perspective Mystic sense of space and atmosphere Diluting impact of colour Linear delicacy Rhythm and grace of Ajanta painting

4. Abanindranath Tagore Born in 1871in Jorasanko Rabindranath and Gaganendraneth were contemporaries and were from same family First major artistic figure of Modern India Evolve national style based on Indian Traditional painting and an alternative to western art Creator of Bengal School of art Learned art from two teachers Gilardi of Italy Palmer from England E.B. Havell then principal of Govt. Art Collage offered him the post of Vise-principal in the collage Under him he studied Mughal and Rajput miniature He evolve a new technique by fusing Indian Tempera and Japanese wash technique Famous paintings: Journey’s end, Seath of Shahjahan , Ganesh Janani , Bharat Mata, Arabian Night series and so Father of Modern Indian Painting

5. JOURNEY’S END ABANINDRANATH TAGORE WATER COLOUR WASH AND TEMPERA ON PAPER First publishe in Bengali Magazine “ Prabasi ” Half open eye of the beast Fusion of japanese wash and indian tempera technique Back ground done in wash Depiction of animal and fore ground in tempera Red, brown and yellow wash in the back- grond gives the impression of sunset Tint of blue where the animal is about to collapse Massive load on the camels back show the greed d of the master Thin stream of blood oozing from the mouth The load is still intact and the animal gives a last try to stand, Depicting the loyalty towards the master Head is slightly raised Back legs upright Front leg bent from the knees Realistic depiction of the animal Slight usage of light and shadow The time sunset symbolize the life end of the animal Blank mid and back-ground Entire event happening in the fore ground Influence of Miniature can be seen

6. Nandalal Bose Second major artist of Bengal School Learnt painting directly from Abanindranath Tagore in Govt art collage After collage he join bengal school Close contact with Dr. A.K Coomaraswamy , Sister Nivedita , Rabindranath Tagore increses his intellectual horizon He illustrates the literary works of Rabindranath Esp the books of alphabets Copy of Ajanta and Bagh paintings bring change and maturity in his style He joined Kala Bhavana in 1920 as principal Some of his best work includes Shiva drinking poison, parthasarathi , sati, return of Buddha, ardhanariswar , dandi march He remain nationalist to the core through out his life Retired from kala bhavan by 1951 His students include Ramkinkar Baij , Benode Behari Mukherjee He received Doctorate from BHU, D.Lit from CU, Deshikottam from Visva Bharati , Padma Vibhusan from Govt of India

7. TILLER OF THE SOIL NANDALAL BOSE WATER COLOUR AND TEMPERA ON HANDMADE PAPER One of the painting of 85 poster series Or Haripura poster The subject included hunter, warrior, wrestlers, mother and child, carpenter, smith and so In this painting farmer tilling soil with a pair of oxen The farmer have plough in one hand and a stick on the other hand The oxen are healthy and magnificent Raised hooves depict motion The farmer is wearing short dhoti Turban on head Upper body part bare Oxen are decorated with ornaments and colourful piece of cloth Yoke is prominent Background light golden yellow Highlighted and bordered on the top by dark grey The artist use bold white patch for the oxen and cloth and turban of the farmer for a natural touch Bold and rhythmic free outline in black Brown colour used for the body of farmer and polugh

8. Kshitindranath Majumdar Early student of Abanindranath Tagore Distinguished artist of Bengal school His paintings mainly derives from literary, religious and narrative tradition Radha Krishna and Chaitanya is one of the major theme of his painting Born in rural Bengal, Nimta Village, Murshidabad No formal education Art creativity developed from rural Yatras , Kirtan , indigenous religious performance 1921 appointed as the principal of Indian Society of Oriental art 1942 – 64 head of Arts Dept. in Allahabad university

9. RASA-LILA KSHITINDRANATH MAJUMDAR WATER COLOUR WASH AND TEMPERA ON HAND-MADE PAPER Gopi’s are swaying In ecstatic dance Krishna in the center Graceful movement of body and hand The gopis are sporting rhythmic steps, delicate smile, wisp of hair covering fore head The figures are cladded in contrasting colours Krishna’s complexion is dark blue and he is in pitambar The back ground is dark and cloudy Tree trunks are juxtaposing Leaves are painted in dark bluish-green colour ‘ bhava ’ feelings suffused with spirituality Strong appeal and lyricism The lines are delicate, supple and sinuous

10. Ramgopal Vijaywargiya Born in Rajasthan From early age keen interest on art Early age drew Human figures and rural landscape Took admission iin Maharaja School of art and craft Jaipur In final year he finished the year course in eight month School days draw the painting of Megh-Doot By 1925 his early illustrations were influenced by the paintings of Abanindranath tagore

11. MEGHDOOT RAMGOPAL VIJAYWARGIYA WATER COLOUR WASH AND TEMPERA ON HAND MADE PAPER Yaksha and Yakshini are flying on the shredded cottony clouds Dark blue sky Yakshini embracing Yaksha Her hand on his chest Yakshini dressed in pink in the upper body part Lower body golden lion cloth Excellent depiction in the Drapery Yaksha wearing olive green colour dhoti His upper body part bare He is holding a pink lotus in his right and Both are wearing armlet, earrings, wristlets, necklace of pearl White flower in Yakshini’s hair Both of their faces reflects romance and sensuality Four white birds flying in the right lower corner Half closed doe like eye Soft smiling face Tapering elongated fingures Thin sinuous arms

12. Md. Abdul Rehman Chughtai Born in 1897 in the Cgughtai Family of Lahore His ancestors were chief architect of Shahjahan who designed Tajmahal , Red fort, Jama Mashjid He went to E urope for learning art He came back India and join Bengal School under Abanindranath Later he left Bengal school and developed his own method Decorative style His method based on calligraphic lines of Mughal Miniature and old persian painting Topics: Hindu mythology, poetic works of Mirza Galib , Iqbal and omar Khayyam Exhibitions in London, Paris, Berlin & Philadelphia Left India after partition, lived permanently in Lahore and died in 1975 Some of his famous paintings are “the lamp & the moon”, Princess of Sahara”, Prince Salim ”, “hermit”, “Rose and wine”, “poet tulsidas ”

13. RADHIKA M.A.R. CHUGHTAI WASH AND TEMPERA ON HAND MADE PAPER Drawn in profile Radhika is delicate and lovelorn Delicately holding two lotuses in two hands Violet Ghagra , Red choli , Yellow dupatta In typical Indian style Black Hair flowing down her back Down cast eye added emotional flavor Exaggerated arch like eyebrow Pearl necklace, pendant Gold and glass bangles and ring Mughal manner lamp with stand in the left hand side of the composition Yellow and red wick in the lamp The light of the lamp illuminates Radika and also added divinity Back-ground in black, red and yellow colour in tonal gradation Each fold of the drapery is created with minute detail Honeybee sitting in the lotus of the left hand symbolizes krishna

14. Thank You