The Bengal School of Art, along with Raja Ravi Varma, Company Paintings, and artists like Rabindranath Tagore and Jaimini Roy, played a key role in shaping India's cultural nationalism and modern art movements.

Bengal School & Cultural Nationalism: Company Paintings

• Company Painting
  • Prior to British colonial rule, Indian art served different purposes, such as decorating temple walls, illustrating manuscripts, and adorning the walls of mud houses in villages. Art was deeply intertwined with cultural and religious practices.
  • With the arrival of the British in the eighteenth century, they became fascinated by the customs, manners, tropical flora, fauna, and varied locales of India. This fascination led many British officers to commission local artists to paint scenes from their surroundings for both documentation and artistic reasons.

    

• Adaptation of Traditional Art
  • To please their British patrons, local artists, some of whom had migrated from the courts of Murshidabad, Lucknow, or Delhi, adapted their traditional style of painting. This adaptation was driven by the need to document the world around them, incorporating close observation—a hallmark of European art—rather than relying solely on memory and rule books as in traditional Indian art.
• Characteristics of Company School of Painting
  • The Company School of Painting emerged from this fusion of traditional Indian art techniques and European style. This new style was marked by detailed depictions of landscapes, local customs, flora, fauna, and people, with a focus on realism and observation.
  • These paintings were predominantly done on paper and became popular among British officers in India. The paintings not only satisfied the curiosity of the British but also gained popularity in Britain, where albums containing sets of these paintings became highly sought after.

Raja Ravi Verma

• Raja Ravi Varma
  • The decline of traditional Indian painting occurred with the advent of photography in the mid-nineteenth century, as the camera provided a more accurate and efficient means of documentation.
  • However, the British-established art schools promoted the academic style of oil painting, which utilized European techniques to depict Indian subject matter. This style gained popularity, especially in formal art schools.

    

• Raja Ravi Varma's Contribution
  • The most successful examples of this European-influenced style were seen in the works of Raja Ravi Varma, a self-taught artist from the Travancore Court in Kerala. He was known for mastering academic realism by replicating popular European paintings and adapting them to depict Indian themes.
  • Raja Ravi Varma's paintings, often illustrating scenes from the Ramayana and Mahabharata, became immensely popular. Many of his works were reproduced as oleographs and sold in markets, often finding their way into homes as calendar images.
• Nationalist Backlash and the Bengal School
  • By the end of the nineteenth century, with the rise of nationalism in India, Raja Ravi Varma's academic style was increasingly criticized for being too Western and foreign to effectively depict Indian myths and history.
  • This nationalist sentiment helped pave the way for the emergence of the Bengal School of Art in the first decade of the twentieth century, which sought to promote a more indigenous style of Indian art.

The Bengal School of Art

• The Bengal School of Art
  • The term 'Bengal School of Art' is somewhat misleading as it was not confined solely to Bengal. While it began in Calcutta, the heart of British power, it spread across India and influenced artists in places like Shantiniketan, where India's first national art school was established.
  • This movement was closely tied to the Swadeshi nationalist movement and was led by Abanindranath Tagore, who received support from British administrator and principal of the Calcutta School of Art, E. B. Havell.
  • Both Abanindranath and E. B. Havell were critical of colonial art schools and the European influence on Indian art. They sought to create a new style that was distinctly Indian, focusing on Mughal and Pahari miniatures as sources of inspiration rather than European styles like the Company School of Painting or academic realism.
• Abanindranath Tagore and E. B. Havell
  • In 1896, E. B. Havell and Abanindranath Tagore initiated a reform in art education, beginning at the Government Art School in Calcutta, later known as the Government College of Art and Craft, Kolkata. Similar art schools were set up in Lahore, Bombay, and Madras, but Calcutta's focus was more on fine arts.
  • They designed a curriculum that included Indian techniques and themes, drawing from Indian art traditions. Abanindranath's painting "Journey’s End" is a prime example of how he incorporated Mughal and Pahari miniatures to create an Indian style of painting.
  • Abanindranath also played a crucial role in the creation of the "Indian Society of Oriental Art" journal, promoting Swadeshi values and showcasing Indian art to modern Indians. This helped set the stage for the development of modern Indian painting.
• Shantiniketan — Early Modernism
  • Abanindranath's student, Nandalal Bose, was invited by Rabindranath Tagore to head the painting department at Kala Bhavana, India's first national art school, at Shantiniketan, part of Visva-Bharati University. Nandalal played a key role in developing an intellectual and artistic environment that encouraged an Indian style of art.

    

  • Nandalal Bose's interest in folk art led him to focus on the art's connection to ordinary people. His "Haripura Posters," painted for the 1937 Congress session, depicted rural folk engaged in everyday tasks and highlighted Gandhi's vision of social inclusion through art.
  • Kala Bhavana became a training ground for many artists, including K. Venkatappa in South India. These artists sought to make art accessible to the broader public, not just the anglicized elite.

    

• Jamini Roy
  • Jamini Roy, a notable modern Indian artist, after receiving academic training in colonial art schools, rejected European influences and instead embraced folk art styles from rural villages. His work was characterized by simplicity, bold colors, and themes of women, children, and rural life, making it easy to replicate for the masses.
• Continued Struggle Between Indian and European Art
  • The battle between Indian and European tastes in art continued under British rule. For example, the British government selected students from the Bombay School of Art, trained in realistic European techniques, to decorate buildings in Lutyen’s Delhi.
  • At the same time, Bengal School artists were allowed to decorate the Indian House in London, though this was done under strict British supervision.

Colonial Art Policy and the Divide

• Colonial Art Policy and the Divide
  • The colonial art policy had created a divide between those who preferred European academic style and those who favored the Indian style.
• Swadeshi Movement and Art
  • The Partition of Bengal in 1905 and the peak of the Swadeshi movement deeply influenced ideas about art.
  • Ananda Coomaraswamy, an important art historian, joined hands with Japanese nationalist Kakuzo Okakura, who was visiting Rabindranath Tagore in Calcutta.
• Pan-Asianism
  • Okakura brought with him ideas about pan-Asianism, aiming to unite India with other Eastern nations to resist Western imperialism.
  • Two Japanese artists accompanied him to Calcutta and later went to Shantiniketan to teach the wash technique of painting, offering an alternative to Western oil painting.
• Modern European Art Influence
  • In contrast to pan-Asianism, ideas about modern European art also began to influence India.
  • 1922 was a remarkable year as an important exhibition of works by Paul Klee, Kandinsky, and other Bauhaus artists traveled to Calcutta, showcasing modern European abstract art.
  • For the first time, Indian artists and the public encountered modern art of this kind, which rejected academic realism.
• Gaganendranath Tagore's Influence
  • Gaganendranath Tagore, the brother of Abanindranath Tagore, was deeply influenced by the modern Western style of painting.
  • He experimented with Cubist style, creating geometric patterns to depict building interiors.
  • Additionally, he was interested in making caricatures, often poking fun at wealthy Bengalis who blindly followed European ways of life.

The Divide Between Anglicists and Orientalists

• The Divide Between Anglicists and Orientalists
  • The divide between anglicists and orientalists was not based on race, but rather on differing views on modernism.
  • Benoy Sarkar, a Bengali intellectual, sided with the anglicists and considered the growing modernism in Europe as authentic.
  • In his article 'The Futurism of Young Asia,' Sarkar argued that the Oriental Bengal School of Art was regressive and anti-modern.
• E. B. Havell's Support for Native Art
  • E. B. Havell, an Englishman, advocated for a return to native art to create a truly modern Indian art.
  • His views contrasted with Sarkar's, as Havell believed in the importance of the Bengal School and its role in modern Indian art.
• Amrita Sher-Gil: Bridging Western and Indian Art
  • Amrita Sher-Gil represents the fusion of both Western and Indian art styles.
  • She adopted the modernist style seen in the Bauhaus exhibition to depict Indian scenes, illustrating the meeting of these two viewpoints.

    

• Modern Art in India: Colonialism and Nationalism
  • The development of modern art in India can be understood as a result of the conflict between colonialism and nationalism.
  • Colonialism introduced new institutions such as art schools, galleries, magazines, and societies.
  • Nationalist artists, while accepting these changes, continued to assert more Indian tastes in their art, even adopting a broader Asian identity for a period.
• The Legacy of Modern Indian Art
  • This legacy of modern Indian art will continue to be shaped by a balance between international influences from the West and a commitment to indigenous traditions.
  • It demonstrates an ongoing movement between global modernism and a deep respect for India's artistic legacy.

Important Paintings from the Bengal School

Tiller of the soil

• The Tiller of the Soil Panel (1938)
  • The "Tiller of the Soil" is a panel created by Nandalal Bose in 1938 for the Haripura Congress.
  • This panel depicts a farmer ploughing a field, highlighting the daily activities of a common man in rural India.

    

• Representation of Village Life
  • Bose aimed to capture the essence of village life in his Haripura panels, focusing on the simplicity and dignity of rural existence.
  • To achieve this, he created pen-and-ink brush studies of local villagers, drawing from their natural environment and daily routines.
• Artistic Technique and Folk Influence
  • He used thick tempera paint in a bold, cursory style with broad brushstrokes, evoking the folk art tradition of patuas or scroll painters.
  • The folk style was purposely chosen to represent rural life, further emphasizing the theme of simplicity and tradition.
• Political and Cultural Significance
  • The panel also conveys a political statement aligned with Gandhi’s idea of rural India as the heart of the nation.
  • The arch in the background symbolizes strength and continuity, enhancing the message of unity and rural empowerment.
• Inspiration from Traditional Art Forms
  • Bose was inspired by traditional Indian art, particularly the Ajanta wall paintings and sculptures, which influenced the strong formal design and bold color scheme of this panel.
• The Role of Art in Nation Building
  • More than 400 posters were produced at Kala Bhavana under Bose’s supervision, which placed common people at the center of the nation-building process.
  • Bose used art not only as a form of visual expression but as a tool to shape the nation’s moral character, highlighting the importance of the common man in the struggle for independence.

Rasa-Lila by Kshitindranath Majumdar

• Rasa-Lila by Kshitindranath Majumdar
  • This watercolour painting, created by Kshitindranath Majumdar (1891–1975), portrays the divine life of Sri Krishna.
  • Majumdar was one of the early students of Abanindranath Tagore and continued the wash technique tradition with his own variations.

    

• Stylistic Features
  • Majumdar’s style is characterized by rustic, slender figures, modest gestures, and idyllic settings, all painted in delicate watercolours.
  • His art focuses on mythological and religious subjects, often inspired by his understanding of the Bhakti Marga.
• Depiction of Krishna and Radha
  • The painting depicts Krishna dancing with Radha and the sakhis (female companions), set against a background of trees that evoke a simple village atmosphere.
  • The scene reflects elements from the Bhagavata Purana and the Gita Govinda, capturing the divine play of Krishna and Radha in a rural, idyllic setting.
• Expression of Sublime Moods
  • The figures and their clothes are drawn with simple, flowing, and delicate lines, contributing to the overall serene and sublime mood of the painting.
  • Majumdar successfully captures the sublime moods of the characters through gentle, expressive features.
• Human and Divine Unity
  • In this work, Krishna and the gopis are depicted in equal proportions, bringing humans and the divine on the same level.
  • This equality underscores the spiritual connection between the divine and the human realms in the context of Bhakti.

Radhika by Abdul Rehman Chughtai

• Radhika by Abdul Rehman Chughtai
  • This wash and tempera painting, created by Abdul Rehman Chughtai (1899–1975), depicts Radhika walking away from a lighted lamp in a gloomy background.
  • The painting portrays a state of trance or remorse and is based on Hindu mythology.

    

• Chughtai’s Influence and Style
  • Chughtai was influenced by Abanindranath Tagore, Gaganendranath Tagore, and Nandalal Bose, and he experimented with the wash technique in his artwork.
  • His work also reflects the calligraphic line typical in Mughal manuscripts and old Persian paintings, adding a sensuous depth to his art.
• Subject and Themes
  • The painting represents Hindu mythology, with Radhika depicted in a poignant, emotional moment.
  • Chughtai often painted characters from Indo-Islamic, Rajput, and Mughal legends, folklore, and history, reflecting a blend of cultural influences.
• Use of Light and Shade
  • The light and shade in the background of the painting are simplified to the highest degree, contributing to the mood and emotional depth of the piece.
• Poetic Quality and Calligraphy
  • Chughtai’s style is marked by a lyrical quality, with every line of the painting reflecting the elegance and grace of calligraphy.
  • His work is often described as visually representing a poem, with the character's grace and emotion captured in every stroke.
• Other Notable Works
  • Other works by Chughtai that carry similar poetic qualities include "Gloomy Radhika," "Omar Khayyam," "Dream," "Hiraman Tota," "Lady under a Tree," "Musician Lady," "Man behind a Tomb," "Lady beside a Grave," and "Lady lighting a Lamp."

City in the Night by Gaganendranath Tagore

• City in the by Gaganendranath Tagore
  • This watercolour painting was created by Gaganendranath Tagore (1869–1938) in 1922. It is a portrayal of the painter's inner experiences and the turbulence of human emotion.
  • Tagore used the language and syntax of Cubism to express these ideas, transforming the geometry of Analytical Cubism into an expressive apparatus.

    

• Tagore’s Use of Cubism
  • He softened the formal geometry of Cubism, blending it with human form through seductive profiles, shadows, and outlines.
  • His paintings reflect his interest in translating internal experiences into visual forms, allowing the geometry of Cubism to transform into a more expressive medium.
• Imaginary Cities
  • Tagore depicted the mysterious world of imaginary cities like Dwarka (Lord Krishna’s legendary abode) and Swarnapuri (The Golden City).
  • The cities are visualised through multiple viewpoints, multi-faceted shapes, and jagged edges typical of Cubism, resulting in a fragmented yet luminous portrayal.
• Use of Cubist Forms
  • The painting features an interplay of diamond-shaped planes and prismatic colours, creating a fragmented luminosity that represents the mountain ranges of the city.
  • Zigzag planes in the painting come together to form a tight formal structure, enhancing the overall composition.
• Theatrical Influence
  • The painting is mysteriously illuminated by artificial light, which is a feature of the theatre.
  • Tagore’s involvement with his uncle Rabindranath Tagore’s play, staged in their house, influenced his approach to painting.
• Stage Props and Architecture
  • Tagore incorporated references from stage props, partition screens, overlapping planes, and artificial lighting, reflecting the theatrical elements in the painting.
  • Elements like endless corridors, pillars, halls, half-open doors, screens, illuminated windows, staircases, and vaults appear in the painting to create a magical, otherworldly atmosphere.

Rama Vanquishing the Pride of the Ocean by Raja Ravi Varma

• Rama Vanquishing the Pride of the Ocean by Raja Ravi Varma
  • This painting depicts a scene from the Puranic (ancient mythological stories) theme, created by Raja Ravi Varma.
  • Raja Ravi Varma was one of the first Indian painters to use oil paint and master lithographic reproduction for mythological subjects.

    

• Style and Subject Matter
  • Varma's paintings were often large-scale, depicting historic moments or scenes from epics or classical texts.
  • The style of his work is intended to be noble, momentous, and emotional, capturing dramatic actions from mythological narratives.
• Scene from the Valmiki Ramayana
  • The scene in this painting is taken from the Valmiki Ramayana, where Rama builds a bridge to Lanka to enable his army to cross the ocean.
  • Rama prays to Varuna, the God of the Ocean, for permission to cross. When Varuna does not respond, Rama becomes angry and prepares to shoot a fiery arrow into the ocean.
  • Varuna appears to appease Rama after he readies the arrow, preventing the destruction of the ocean.
• Sequential Narrative
  • This event in the painting serves as a springboard for the next one, continuing the narrative of the epic.
  • The story unfolds in a series of paintings, covering major moments in the lives of Rama and Sita, ultimately depicting the entire epic of the Ramayana.
• Other Notable Paintings by Raja Ravi Varma
  • Raja Ravi Varma also painted other significant scenes from the Ramayana, such as "Release of Ahalya," "Rama Breaking the Sacred Bow of Siva," "Rama, Sita, and Laksmana Crossing the Saryu," "Ravana Abducting Sita and Opposed by Jatayu," "Sita in Ashoka Grove," and "The Coronation of Rama."

Woman with Child by Jamini Roy

• Woman with Child by Jamini Roy
  • This gouache painting on paper was created by Jamini Roy in 1940.
  • Jamini Roy (1887–1972) is known as the father of the folk renaissance in India and played a significant role in shaping modern Indian identity through his art.
• Jamini Roy's Influence and Artistic Journey
  • In the mid-1920s, Roy traveled to the countryside of Bengal to collect folk paintings (pats) and learn from folk artisans.
  • He sought to understand and incorporate the expressive power of their lines into his own works.

    

• Style and Composition of the Painting
  • The painting depicts a mother and child, with bold simplifications and thick outlines created using sweeping brush strokes.
  • The figures are rendered in dull yellow tones against a brick-red background, emulating the terracotta reliefs of his home village in Bankura.
  • The two-dimensional nature of the painting is inspired by the folk *pat* paintings, reflecting Roy's search for simplicity and pure form.
• Folk Influence and Techniques
  • Roy borrowed elements such as volume, rhythm, decorative clarity, and instrumentality from *pat* paintings.
  • To achieve the purity of folk art, he first created many monochrome brush drawings, gradually progressing to the use of seven basic colours applied with tempera.
  • The colours included Indian red, yellow ocher, cadmium green, vermilion, charcoal gray, cobalt blue, and white, all made from organic materials like rockdust, tamarind seeds, mercury powder, alluvial mud, indigo, and common chalk.
• Roy's Innovative Approach to Materials
  • Jamini Roy used lamp black to outline his drawings and started making his own canvas using home-spun fabric, in contrast to the paper or baked paper traditionally used in *pats*.
• Political and Cultural Significance
  • Roy’s work, particularly his emphasis on village communities and folk art, became a form of resistance to colonial rule.
  • Through his art, Roy sought to make the local signify the national, reflecting a political act of reclaiming Indian cultural identity.

Journey’s End by Abanindranath Tagore

• Journey’s End by Abanindranath Tagore
  • This painting was made by Abanindranath Tagore in 1913, using watercolour.
  • Abanindranath Tagore (1871–1951) is regarded as a father figure of nationalist and modern art in India.

    

• Reviving Indian and Oriental Traditions
  • Abanindranath revived various aspects of Indian and oriental painting traditions, focusing on themes, style, and techniques.
  • He is credited with inventing the wash painting technique, which yields soft, misty, and impressionistic landscapes.
• Wash Technique and Its Impact
  • The wash technique creates hazy, atmospheric effects, often used to evoke the end of a life or journey.
  • In "Journey’s End," the collapsed camel against a red dusk background symbolizes the end of a journey, mirroring the end of a day.
• Symbolism and Literary Allusions
  • Abanindranath used symbolic aesthetics and literary allusions to convey deeper meaning in his paintings.
  • The fine lines and delicate tones of the camel's physical features reflect its sensory texture, enhancing the painting's symbolism.
• Other Notable Works
  • Abanindranath Tagore also created paintings such as *The Forest*, *Coming of Night*, *Mountain Traveller*, *Queen of the Forest*, and a series of 45 paintings based on *The Arabian Nights*.