1.

This Art No Longer Follows the Traditional Values and

Styles of The Art Which Was Followed Between 19th And
20th Century.

2. Contemporary Art Includes All the Artists and Groups

Living or Occurring at The Same Time Around the World.

3. Graphics Is A Recent Development in Comparison to

Painting and Sculpture.

4. Invention of Photography Also Effected the Visual Art A

Lot and Entry of Computer Enhanced the Creativity Many
Times.
5. Art Progressed from Concrete to Abstract.

6. Artists Started Painting for Their Own Pleasure and

Satisfaction.

7. Indian Art During the Period 1900 – 1925 Came to Be

Dominated by The Bengal School but Those Who Wanted
to Revive the Art Failed to Do Because Of The Lack of
Originality.

8. There Efforts Will Be Remembered for Attempt to Revive

the Classical Indian Tradition Based on Epic and
Mythology Through Their Paintings.
9. They Lacked the Social Consciousness of The Classical
Times of Indian History and Were Indifferent to
Cotemporary Through Their Paintings.

10. Abanindranath And Nandalal Will Be Remembered as

Starting A Movement Which Failed.

11. The Artists After 1925 Refused to Imitate the Mannerism

of The Art of The Past.

12. They Felt That Such Imitation Limit the Imagination of

The Artists and Not Liberate It.
13. Gaganendranath Was A Contemporary Artist, Tried
Cubistic Painting Influenced by European Cubism.

14. Rabindranath In His Painting Tried Expressionism.

15. Many Other Artists Like Nirod Mayumdar, Gopal Ghosh,

Paritosh Sen Attempted A Change in Their Outlook on Art.

16. Figurative Drawing Has Been Replaced by Abstract

Painting Trying to Search Beauty in Formlessness.

17. Somnath Hore, Jyoti Bhatt, Anupam Sud Brought Variety

in Modern Indian Art by Their Graphic Prints.
18. M. F. Hussain Became A Famous Name Among Modern
Indian Painters. He Made Paintings Like Farmer’s Family,
Splash Front Page to Express the Concern.

19. K. K. Hebbar Painted on Poverty and Hunger the Harsh

Realities of Life.

20. G. R. Santosh Painted on Spiritual and Made Tantric

Geometric Figures.
• Artist :– Jamini Roy
• Period :– Early 20th Century
• Medium :– Water Colour Paper
• School :– Modern
• Painting Depicting Motherhood.

• There Is No Stress of Modern Life Seen in The Faces of Both

Mother and Child.

• This Shows That the Mother and Child, Both Have Found
Fulfilment In Each Other.

• This Has Made the Painting Timeless.

1. This Is A Vertical Painting by Jamini Roy

2. A Mother Is Holding Her Son with Her Left Hand on The

Side on Her Waist.

3. Face Is Cup Shaped, Eyes Are Elongated, A Stylized

Influence of The Pala School of Eastern India.

4. The Child Also Has Similar Eyes with Thick Eyebrows.

5. Mother’s Head Is Tilted Towards the Son. The Child Is

Totally Naked While the Mother Is Wearing A Sari.
6. Border of Sari Is Shown at Different Places. On One Side
We Can See A Plant Like Structure.

7. Both Mother and Child Are Decorated with Ornament.

There Is A Small Bun on Top of The Child’s Head Similar
to Roy’s Images of Baby Krishna.

8. The Folk Motifs in The Background Capture the

Simplicity of Local and Rural Life.
9. Lines Are Very Sharp, Thick and Fully Expressive. The Figures
Are Arranged in A Single – Frontal Plane in Simple Two –
Dimensional Forms, With Flat Colour Application and Forceful
Lines. The Flat Colour on The Flat Planes Have Removed All
Unnecessary Ornamentation from His Work.

10. The Bold Lines Defining Curves Come Alive with Her Feminine
Beauty. The Bold – Sweeping Brush Strokes at The Contours
Bring Clarity into The Composition.

11. There Is A Sensitive Moulding of The Volume of Figures with

Tonal Gradations. The Decorative Motifs Are Inspired from
Kantha And Alpana Of Bengal.
• The Artist’s Palette Is Limited To A Few Earthy Colours,
Mostly Green, Yellow Ochre, Gray, Vermillion, Blue, And
Lampblack. The Colour Bands of Varying Thickness Bring
Down the Harshness of The Black Line.

• Jamini Roy Was A Modern Artist More Than Anyone Else

Who Followed an Entirely Different Path of Expression,
Deeply Inspired by Bengal Folk Tradition.
• Artist: M. F. Husain
• Medium: Water Colour
• Period: 1997 A. D.
• Size: 56 X 36 Cm
• Courtesy: National Gallery
of Modern Art, New Delhi
• Mother Teresa Is Recognised All Over the World
for Her Selfless Service to The Poor.

• She Can Be Recognised by Her Dress and Her

Love for Children.
1. The Painting Shown A Faceless Figure with Flowing Drapes of
The Blue Bordered White Sari That Was Worn by Mother Teresa.

2. The Sari Is Actually Symbolic of The Uniform of The Nuns of

Orphanage and Homes Run by Mother Teresa.

3. The Mother Is Supposedly Sitting Under the Pavilion of a Church,

Which the Artist Has Randomly Divided with Two Yellow Lines
on His Canvas.

4. A Sick Person Is on Her Lap and She Is Leaning Protectively

(Gently) Over His Body. The Sick Man Is Painted with Indian Red
Colour.
5. The Left Extended Palm Is Somewhat Similar to Abhay
Mudra to Assure the Needy to Have Faith in The Healing
Power of God.

6. The Black Colour Below the Covered Head in Place of The

Face Merges with Background.

7. The Faceless Entity Is to Establish Her Universal

Motherhood for Which Caste, Colour or Religion Is
Unimportant.

8. It Also Indicates Complete Rejection of Ego, A Quality of This

Extremely Selfless Person.
9. The Spread of Her Sari Shelters A Homeless Child on The
Right and On the Left, A Naked Infant Orphan Is Held by
Her Replica. The Colour of The Infant and The Saree in
The Left Panel Is Ochre.

10. There Is One More Saree Covered Head Behind the

Mother’s Head, Almost Similar but Without the Blue
Border. It Could Probably Be for Symbolising the Other
Nuns Who Also Did the Same Kind of Work for The Needy.
• Artist: Raja Ravi Verma
• Period: Mid-19th Century
• Medium: Oil on Canvas
• School: Modern
• Courtesy: Lalit Kala Academy, New
Delhi
• The Painting Based on An Episode from The Epic
Ramayana.

• Rama With His Force Wanted to Cross the Ocean to Recover

Sita From Ravan.

• Even After Several Attempts They Are Not Able to Build A

Bridge on The Ocean as The Lord of Ocean Was Very Upset
in Angry.

• So Lord Rama Then Threatened Lord Varun The God of

Ocean to Destroy Him If They Were Not Given Permission
to Build the Bridge.
1. It Shows Ram in Anger Picking Up His Bow and Ready to
Place an Arrow at The String, His Expressions Are Clearly
Showing His Anger.

2. At This Ocean God Varun Along with His Companion Is Seen

Rushing to Pacify Lord Rama. TheExpression and Gestures
of Lord Varun Clearly Show His Reaction.

3. Angry Ram’s Expressions Are Stern with His Eyes Popping

Out in Anger.

4. This Action Is Also by The Nature.

5. A Bolt of Lightning in The Dark Cloud Sky Is Enhancing
the Reaction of Rama.

6. The Turbulence in The Wave with Rising in The Sea

Enhances the Expression

7. The Waves Are Hitting the Rocks at The Shore Where Ram
Is Standing and Forms Thick Foam.

8. The Postures of The Figure and Their Fluttering Garments

Signify the Stormy Atmosphere.
• The Colour Are Warm and Gentle with Mostly Brown,
Yellow and Orange Tone.

• White Is Skilfully Used to Show the Lightning and Ram’s

Cloth and Frothy Sea.

• The Use of Textures Has Been Successful in Bringing the

Desired Effect.
• Artist : Somnath Hore
• Medium : Etching and Aquating
• Period : 1955 - 70
• Courtesy : National Gallery of
Modern Art, New Delhi
• Painting Done by Him Is the Protest of The Against the
Injustice Meted Out to Humble and Innocent Poor People of
Society by Rich and Powerful Ruling Class.

• They Are the Only Ones Who Suffer Due to War or Famine.
1. Five Standing Figures Are All Victims of Starvation.

2. They Are Isolated from Others as There Is No Background.

3. They Appear to Be Abandoned by The Society.

4. In the Figure Children Have Bloated Stomach, Large Head

and Small Faces with Protruding Eyes.

5. Mother Standing Behind Them Is Protecting Them.

6. Another Girl Child Who Is Having Her Back Towards the

Viewer Is Standing on The Left Side.
7. Eyes Are White with Horrifying Hollows and Rib Cages of
The Children Can Be Easily Seen.

8. The Child in Front Is Wearing A Necklace and Is Bare at The

Top and Is Wearing A Half Dhoti.

9. The Tallest Figure on Top with Hands on Both Sides of The

Head Appears Ghostly.

10. The Starved Part of The Body Show the Undernourished

Children from The Poor Deprived Society.

11. The Human Forms Are Divided into Cubist Style Geometrical
Plane
1. Different Tones of Blue and Grey Are Used to Show Children
from Poor Society.
• Artist : Jyoti Bhatt
• Period : 1965 - 75
• Medium : Etching
• Courtesy : National Gallery of
Modern Art, New Delhi
1. It Displays the Idea of Fertility and Power.

2. That Power Is Worshipped as Shakti Or Devi In Tantric

Cult.

3. This Power Is in Kundalini.

4. Kundalini Is the Serpent in The Female Form.

5. Kundalini Lies in The Base of The Spine of Both Male and

Female.
6. Through Yoga, Mantra, Meditation This Power Can Be
Made to Rise from The Spine to The Brain.

7. In the Brain the Male Power of Shiva Lives When Both the
Power of Spine and Brain Meet It Leads to Siddhas
(Immense Power)
1. Etching Technique Is Used.

2. Kundalini Is Encircling the Female Fertility Power in The

Form of a Young Lady.

3. Original Concept of Male Power Living in The Brain Is

Replaced by The Concept of Power in The Heart.

4. Tow Rectangles Are There. Rectangle Has A Bold Face in Its

Centre.

5. Lower Rectangle Has Two Circles with One Human Figure

Each Separated by Tail.
6. Motifs of Bird Are Also There in The Circle.

7. This Change in Concept Is Done and Show Pseudo Tantric.

Kundalini Is Printed on The Decorative Pendant on The
Right of The Devi’s Head.

8. Flowers Are Drawn on Devi Face And Earring.

9. This Can Be Understood as Tantric Who Is Fake and Is

Attracting People by Making New Changes and Get Money
for Their Own Benefits and Cheat the Society Also.
10. Large Eyes Resemble the Eye of Durga From Bengal.

11. Deep Etching in Black Is Giving Artistic Texture to The

Serpentine Form.

12. A Brilliant Red Bindi Is on The Forehead of Devi.

1. Shades of Green Have Been Used in Decorative Pendants on
Each Side of Devi’s Head.
• Artist : Anupam Sud
• Period : 1982
• Medium : Lithograph
• Courtesy : All India Fine Art Craft
Society
• It Is Mixture of Photographic Images and Drawn Images.

• This Is Done to Bring Together the Subject with Objective

Reality.

• The Unfeeling Background Is Contrasted with Lively

Human Form.
1. A Lady Is Sitting in Unhappy State Wearing the Traditional
Dress of a Widow.

2. There Is A Brick Wall Behind Her on Which Pictures Are

Faintly Drawn. The Pictures Have Childish Drawings.

3. This Is to Remind Us That Once She Was A Part of These

Lively Activities till The Wall Was Made to Isolate Her from
Social Life.

4. Black Face Indicates That She Has Lost Her Significance.

5. Part of Legs of The Lying Person May Be the Body of Her
Dead Husband.

6. With His Death She Also Died for The Society.

7. It Is A Protest Against the Society for Such Discrimination.

1. Wall Is Brown Colour and Line Drawn on It Is White Colour.

2. The Painting Is Monotone.

3. Woman Is Wearing White Saree with Black Face with No

Features.
• Artist: K. Laxmi Goud
• Period: 1980-90
• Medium: Lithograph
• Courtesy: National Gallery of Modern
Arts, New Delhi
1. Artist from His Childhood Memory Has Portrayed the
Village Life.

2. Simple Man, Woman and Tree Typical of Rural Area with

Rural Liveliness Have Been Presented.
1. It Is A Vertical Picture.

2. 4 Trees in Background Three on Right Side and One on Left

Side.

3. Branches in The Trees Are Only on The Top of The Trunk.

4. In Front A Woman Wearing A Saree Is Sitting Under the

Single Tree.

5. Women Is Wearing A Nose Ring, And Necklace and Two

Bangles Each in Both Arms.
6. She Is Looking Towards A Man Who Is Standing Beside
Her Under the Tree and Looking at Her.

7. Flowering Plants and Shrubs Are Separating the Two of

Them.

8. Each Leaf of The Tree Has Been Very Carefully Done and
Detailing Done.
1. Light Blue and Green Colours Are Used Mainly in The
Picture.

2. Patches of Blue and Green Colours on Top of The Branches

of The Trees.

3. Monochrome Grey Is Used in The Picture.

• Artist: D. P. Chaudhury
• Medium: Bronze and Cement
• Period: 1953-94
• Courtesy: Marina Beach in
Chennai
1. The Monument Shows Human Spirit.

2. It Shows That Difficult Times Can Be Faced with Working

Together.

3. Four Human Figures Have Been Shown with The Deep

Study of Human Figure, Showing Muscles and Bones
Structure While They Do Their Daily Work.
1. Situated in Marina Beach in Chennai.
2. Four Labourers Who Are Semi Nude Are Moving A Stone with
Wooden Log.
3. They Are Wearing Very Few Clothes
4. Just Having A Piece of Cloth Around the Body at The Hips.
5. Figures Have Been Made After the Deep Study of Human
Anatomy.
6. They Are Finding Extreme Difficulty but Their Labour Signify the
Progress of Man.
7. The Sculpture Shows A Rare Quality of Dynamic Mobility.
• Artist: Ramkinkar Baij
• Medium: Cement and Concrete
• Period: 1938 A. D.
• Location: Vishwa Bharat, Kala
Bhavan Campus, Santi Niketan
1. Santhal Family Is A Free-Standing Out-Door Sculpture. It
Shows the Happy Family of a Tribal Person.

2. Santhal Families Migrated from Santhal Pargana In Bihar In

Search of Work and Often Spent A Day at Shanti Niketan.

3. The Artist Modelled Them in Clay.

1. It Is A Complex Composition with Two Figures Standing
Side by Side.
2. A Dog and A Child Can Be Seen Sitting in A Basket Hanging
from A Pole.
3. Dog Is an Accompanying the Man.
4. The Family Is Seen to Be Migration.
5. It Shows Labour Migration.
6. It Shows the Harsh Reality of a Family Which Is Forced to
Leave Their Own Land Because Of Hunger.
7. The Sculpture Is Rough Textured and Is Made of Gravel
and Red Clay.

8. It Shows the Artist’s Concern and Feeling for The Life of

That Simple People Around Him.

9. This Culture Is Placed on Pedestal to Establish the Close

Earthly Connections.
• Artist: Amarnath Sehgal
• Period: 1958
• Medium: Bronze
• Courtesy: The National Gallery
of Modern Art, New Delhi
1. Themes of Amarnath’s Work Usually Centred Around the
Sufferings of Man in The Modern Time.

2. The Lack of Love and Compassion in Human Society Moved

Him Greatly.

3. This Sculpture Won Him the President’s Golden Plaque

Award In 1958.
1. A Symbolic Creation of a Family of Three Figures.
2. The Sculpture Has the Parents and Their Child.
3. It Is Expressing the Deep Anguish of The Sculpture at The
Injustice Which Is Present in The Society.
4. The Figures Are Tall and Elongated and The Faces Are
Hollow and Distorted.
5. Their Hands Are Raised Towards the Sky.
6. They Are Shouting Out to The World to Tell Them That
They Have Been Victims of Political and Social Injustice for
Many Years.
7. There Is No One To Hear Protest.
8. They Have Been Exploited by The Society.
9. The Distortions of The Figure Present the Social Evil and
The Distorted View of The Society Which Has Become
Immune to Human Misery.
10. The Lifelong Exploitation by The Society Has Made Them
Hollow.
11. Artist Believes That It Is A Responsibility of All the Artist
to Make the Cries of The Downtrodden and Victimised
People Heard by Society.
• Artist: P. V. Janakiram
• Period: 1970-80
• Medium: Wire and Tin,
Oxidized Copper
• Courtesy: The National
Gallery of Modern Art,
New Delhi
1. A Modern Sculpture of The Hindu God Ganesha.

2. It Is A Two-Dimensional Sculpture.
1. It Is the Six Hands, Dancing Figure of Ganesha.

2. Ganesha Is Holding Veena Using the Lower Two Hands and

Is Playing It.

3. Other Four Hands Hold the Traditional Shankha, Chakra,

Gada, Padma To Give the Look of Deity in Incarnation

4. The Features Are Made in Geometrical Shapes with The

Help of a Wire.

5. The Trunk Is Broad and Flat.

6. There Are Red and Orange Patches at Places on An
Otherwise Monochromatic Figure of Oxidized Metal.

7. The Sculpture Is Frontal but The Concave Surface of

Ganesha Made of Oxidised Metal.

8. The Ornamentation Is in The Geometrical Shapes and It Is

Showing the Influence of Southern India.

9. The Sculpture Is Rhythmic and Dynamic.