PAINTING

PAINTING (049)
IMPORTANT Q/A
National Flag of Indian and it’s symbolic significance
to –
Modern Sculpture
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Given question:-
Q4. Raja Ravi Verma mastered the style of academic realism and
used it to depict scenes from popular epics like the Ramayana
and Mahabharata. The paintings on epics became so popular that
many of them were copied as oleographs and were sold in
market and entered people’s homes as calendar images. Based
on its compositional arrangement why do you like or dislike the
painting?
Or
Describe our “Indian National Flag”.

(i) The significance of its colours with special context to its
symbolic interpretation.
(ii) The Ashoka chakra and the significance of its 24 spokes used
in our flag
Ans. (Choice 1)
*then answer*
Or
(Choice 2)
*then answer*
Q1. How did the Indian painters and sculptors contribute to the
National Freedom Movement ? Describe in detail with appropriate
examples.
Ans. On the rising of nationalist movement which was looking for art as
a vehicle for spreading the idea of Swaraj. Abanindranath Tagore
amboded with the high political feeling of that time in the form of
Bharat Mata. A woman was painted like a Hindu deity however instead
of the divine attributes she carries in her four hands the emblem of the
common men’s dream. A piece of cloth, a manuscript, a branch of
paddy rice and a rudraksha garland holding in her hands. She has a
hello behind her head and a Lotus bloom at her feet.
In 1938 Mahatma Gandhi invited Nandalal Bose to decorate the
Congress pavilion at Haripura session. Nandalal Bose design the
Congress village decorate the huts of volunteers with colourful posters.
These are depicting the life of common Bengali villagers. Earlier
Mahatma Gandhi had requested Nandalal to set up an art exhibition at
the Lucknow session in 1936. Also decorated the township Faizpur
Congress session in 1937. These brought him close contact with
Indian nationalist movement.
The greatest contribution of the artist was spreading the idea of
educated people in their rich cultural heritage; awaken them away from
the thoughtless British art and western cultural influencers. Thus the
founder of Bengal School succeeded in bring the painters, sculptors,
poets and musician in the mainstream of nationalist movement.
For example :- Artist like Abanindranath Tagore(Journey’s End) ,
Nandalal Bose(Shiva and Sati), M.F. Hussain (Mother Teresa),
Somnath Hore (Children) & Sculptors like D.P. Rai
Chowdhary(Triumph of Labour), Ramkindar Baij (Santhal Family) are a
few examples of how are Indian artist and sculptors contributed
towards the national freedom movement by promoting feeling of
nationalism in everybody.
Q2. What is symbolized by each of the following, used in the
Indian National Flag ?
a. India Saffron Colour
b. White Colour
c. India Green Colour
d. Ashokan-Wheel
e. 24 spokes in the Ashokan-wheel
Ans. A) Saffron: Courage and Sacrifice
B) White: Truth and Peace
C) Green: Faith and chivalry
D) Ashokan-Wheel/Dharma charka (The Wheel of Law): Progress
of our Nation
E) 24 Spokes in Ashokan-Wheel/Dharma charka: 24 hours
progress
Q3. Describe our “Indian National Flag”.

a. The significance of its colours with special context to its symbolic
interpretation.
b. The Ashoka chakra and the significance of its 24 spokes used in
our flag.
Ans. First : August 7, 1906
The first national flag in India is said to have been hoisted on
August 7, 1906, in the Parsee Bagan Square (Green Park) in
Calcutta. The flag was composed of three horizontal strips of red,
yellow and green. The green stripe at the top composed with
eight white lotuses represents the eight provinces of British India.
The words Vande Mataram was written in deep blue on the
middle yellow stripe are in Devanagri script, the slogan of the
Indian National Congress. The red stripe at the bottom had the
crescent moon and a star in white on right side and the sun in
white on left side.
Second: 1921
During the session of the All India Congress Committee at
Bezwada in 1921 (now Vijayawada) an Andhra youth Pingali
Venkayya prepared a flag and took it to Gandhiji. It was made up
of two colours-red and green-representing the two major
communities i.e. Hindus and Muslims.
Gandhiji suggested the addition of a white strip to represent the
remaining communities of India and the spinning wheel to
symbolise progress of the Nation.
Third: July 22, 1947
On July 22, 1947, the Constituent Assembly adopted it as Free
India National Flag. After the advent of Independence, the colours
and their significance remained the same as horizontal tricolour
— deep saffron at the top, white in the middle and dark green at
the bottom. Only the Dharma Charkha of Emperor Asoka was
adopted in place of the spinning wheel on white middle stripe of
the flag. The Dharma Charkha is in deep blue consisting with 24
spokes.
a) Saffron: Courage and Sacrifice

White: Truth and Peace
Green: Faith and chivalry
b) Dharma charka (The Wheel of Law): Progress of our Nation

24 Spokes in Dharma charka: 24 hours progress
Q4. Who was the father of the folk renaissance in India, who
travelled to the countryside of Bengal to learn from the folk
artisans, the expressive power of their lines to create an
alternative vision of modern Indian identity in art? Name the artist
and describe his work on the bases of at least FOUR elements of
art.
Ans. Artist - Jamini Roy
School - Modern school
Period - 1930
Medium - Oil on canvas (Painting)
Description-
Jamini Roy is among those artists who painted independently without
being impressed by Bengal school and introduced a new and modern
style in India. His new experiments were based on folk art of Bengal
specially the Kalighat Pata painting. Jamini Roy started painting in the
style of Kalighat Pata painting. He followed the glowing colour, flowing
curves and bold line of this style. Also rediscover the beauty of folk art
and redefined it into modern art.
In this vertical composition he has immortalized motherhood by drawing
mother and child as Yashoda & Krishna. The space is nicely filled with
figure and other objects. Lady is shown holding a child with her left arm
on the left side of her waist. Faces are cup shaped; eyes are elongated
like fish shaped with thick eyebrows. Mother’s head is tilted towards her
child. The child is totally naked while the mother is wearing a saree. Both
mother and child are decorated with ornaments. The folk motives in the
background captured the simplicity of local and rural lifeMother is wearing
dark brown saree with border. Brown colour is dominant in the painting.
The use of yellow Ochre is also very beautiful. White colour is used for
ornaments and flowers and working as high light .
Collection – National Gallery of Modern Art, New Delhi
Q5. Describe the main features of the paintings of the Bengal

School.
Ans. Any 4
1. Bengal painters have tried to introduce linear delicacy, rhythm and
grace of Ajanta in their paintings to the best of their ability.
2. The figures are delicate and graceful.
3. Wash technique has been used in order to bring harmony in the
painting.
4. The Impact of Indian traditional painting style can be seen in these
paintings, which proves that the root of this style is there underneath
Indian miniature.
5. The rhythms of the human and animal figures give an extra ordinary
pleasure to eye.
Q6. Identify any relevant painting of the Bengal School included

in your course of study comprising of the following features and
explain them in that painting accordingly :
The creation of mystic and mellow style by using gloomy
colouring with diffused light background and absence of any dark
line or tone, which provide the experience of the astral-world.
Ans. Any painting
RADHIKA
Artist - Mohammed Abdul Rahman Chugutai
School - Bengal School
Period - 1920
Medium - Watercolour on paper
Technique - Wash and Tempera
Description -
M.A.R. Chugutai is the last artist from Chugutai family lived in Lahore.
He was the direct descendant of of Ustad Ahmad Lahuri the chief
architect of Emperor Shah Jahan.
The painting Radhika is a poetic creation full of beauty and imagination
to evoke a sense of pleasure on the beholder. This is a fine detailed
painting of Radha shown as delicate, flexible, graceful and lovelorn in
profile. She is shown in the romantic posture, delicately bending her
neck down, cheek resting on her left hand and in the right hand she is
shown holding a big lotus flower on which a bumblebee (bhanwra) is
sitting. In the background a decorative lamp is shown with flame.
Orange, red, and purple colours are beautifully mixed and the same
colours are used in the figure of Radha. Radha is shown wearing
blouse of orange colour, lahnga of purple colour and ordhni of yellow
colour.
Collection - National Gallery of Modern Art, New Delhi
SHIVA AND SATI
Artist - Nandalal Bose
Period - 1947
Description -
This painting of Nandalal Bose depicting a mythological episode of lord
Shiva and his spouse Sati (Parvati). The artist is a master of lines and
is equally adept in smoothness and tone. Varied shades of brown and
yellow have been used to depict sky in the background which is
merging with rising and falling shape by using shades of violet, brown
and white to show the earth.
The painting has lord Shiva is in sitting pose with a sad face, stretching
his both arms to hold his wife's body that is unconsciously laying on his
left knee. Sati is shown with pale face. Her eyes are closed, wearing
necklace, earring, armlet and bracelet. Her saree is light shade of red
is loosely covering her and also spread around. Shiva’s forehead is
shown brightly with white colour. His hair is tied with bun on the top
and spread at the back. Behind his head, a halo of light yellow colour
is radiating. He is wearing a necklace and snake is also there around
his neck.
MEGHDOOT
Artist - Ram Gopal Vijayvargiya
Period - 1961 to 1966
Description -
This art work is taken from the series of Meghdoot paintings. It is
based on the lyrical poem Meghdutum written in Sanskrit by Kalidas.
The Meghdoot means the Cloud Messenger. Here artist depicted the
thought; how a Yaksha after being excelled for a year to central India
convinced the passing cloud to take a message to his wife Alka to
Mount Kailash, where she is awaited for his return.
In this painting Yaksha is shown sitting and writing a letter to his wife
on the palm leaf which he wants the cloud messenger to hand over to
his wife. Clouds are beautifully drawn in the painting. Yaksha is placed
in the center in yellow colour dhoti and white duppata. Landscape in
the painting is very effective. Fluttering garments and trees and plants
suggest the strength of the wind. Lots of rocks and a hut are also
shown in the background. A water stream is shown in the foreground.
Q7 . Which one do you like or dislike most among all the

paintings of the Bengal School included in your course of study ?
Give your appropriate reasons in detail in the light of the
capabilities of its painter in handling the medium & technique,
depiction of the subject-matter and his way of composition.
Ans. The painting which I like the most is “Journey’s End” by
Abanindranath Tagore.He also introduced new technique of painting
“Tempera and Wash” technique which was a mixture of Indian
traditional painting along with Japanese and Chinese painting.
Painting – Journey’s End

Artist - Abanindranath Tagore
Period - 1937
Description -
It is a poetic deliberation where in a loaded camel after a long journey
is about to fall on stony ground. Episode invites sympathetic look. The
pain and suffering of the dumb animal can be clearly seen in the half
opened eye of the camel. There is an impression of desert with the
sunset giving a very mystical effect to the whole composition.
In the background wash technique is used with red, brown and a bit of
yellow; giving an effect of sunset. The same combination of colour has
been extended to the foreground adding dark tint of blue for the
stones. Whereas tired camel is just about to fall on the stony ground.
The expression of camel face is tremendous.
Q8. Evaluate the artistic achievements of any of the following
painters of the Bengal School with reference to his particular
painting included in your course of study :
a) Abanindranath Tagore
b) Mohd. Abdul Rehman Chughtai
Ans.
A) Journey’s End
Period - 1937
Description -
B) Radhika
Artist - Mohammed Abdul Rahman Chugutai
Period - 1920
Description -
M.A.R. Chugutai is the last artist from Chugutai family lived in Lahore.
He was the direct descendant of of Ustad Ahmad Lahuri the chief
architect of Emperor Shah Jahan.
The painting Radhika is a poetic creation full of beauty and imagination
to evoke a sense of pleasure on the beholder. This is a fine detailed
painting of Radha shown as delicate, flexible, graceful and lovelorn in
profile. She is shown in the romantic posture, delicately bending her
neck down, cheek resting on her left hand and in the right hand she is
shown holding a big lotus flower on which a bumblebee (bhanwra) is
sitting. In the background a decorative lamp is shown with flame.
Orange, red, and purple colours are beautifully mixed and the same
colours are used in the figure of Radha. Radha is shown wearing
blouse of orange colour, lahnga of purple colour and ordhni of yellow
colour.
Q9. Write an essay on Bengal school of art based on the following

parameters.
(i) Origin and development
(ii) Artistic features
(iii) The use of Indian themes to promote Indian revivalism in art
(iv) Name your favourite artist and describe his artwork
Ans. i)
Nationalist thinking that the Bengal School of Art emerged in the first
decade of the twentieth century.
A new style of painting was flourished in Bengal with the mixture of
Indian and several Asian styles; which was known as Bengal school of
art.
The art school of Bombay, Calcutta, Madras and Lahore which has
been established by British where the art education used to be given in
western style. It became troublesome and wretched expressing our
views and ideas for Indian style of paintings.
Abanindranath enjoyed the support of British administrator and
principal of the Calcutta School of Art, E. B. Havell. Both
Abanindranath and Havell were inconsolable colonial Art Schools and
the manner in which European taste in art was being imposed on
Indians.
The year 1896 was important in the Indian history of visual arts. E. B.
Havell and Abanindranath Tagore saw a need to Indianise art
education in the country. Tempera and wash painting technique was
introduced by Abanindranath Tagore as a new technique in India
which was a mixture of Indian traditional painting along with Japanese
and Chinese painting.
Among his students the most well-known were Nandalal Bose
Surendranath Kar, Asit Haldhar, Kshitendranath Mazumdar, K
Venkatappa and many others. The group was unique because of their
distinct style different from European naturalism.
Beauty of Indian art spreader all over the world.
Kala Bhavana was India’s first national art school.
ii)
1. Bengal painters have tried to introduce linear delicacy, rhythm and
grace of Ajanta in their paintings to the best of their ability.
2. The figures are delicate and graceful.
3. Wash technique has been used in order to bring harmony in the
painting.
4. The Impact of Indian traditional painting style can be seen in these
paintings, which proves that the root of this style is there underneath
Indian miniature.
5. The rhythms of the human and animal figures give an extra ordinary
pleasure to eye.
iii)
The depiction of Bharat Mata by Abanindranath Tagore who was
amboded with the high political feeling of that time in the form of
Bharat Mata. A woman was painted like a Hindu deity however instead
of the divine attributes she carries in her four hands the emblem of the
common men’s dream. A piece of cloth, a manuscript, a branch of
paddy rice and a rudraksha garland holding in her hands. She has a
hello behind her head and a Lotus bloom at her feet.
iv) My favourite artist is Abanindranath Tagore and the famous painting

by him which I like is “Journey’s End”
Description :-
Period - 1937
Description -
Q10. Which one do you like or dislike most any of the following
Contemporary (Modern) Indian Painting included in your course
of study?
Ans. The painting which I like the most is “Mother Teresa” by M.F.
Hussain. He is one of the most versatile artist of that phase. He played a
role to develop modern Indian art In International platform.
Painting – Mother Teresa

Artist – M.F. Hussain
School- Modern school
Period- 1997
Medium- Oil on canvas (Painting)
Description-
This painting has been depicted through bold black lines. The main
figure Mother Teresa has been depicted through her flowing drapes of
the blue bordered white saree instead of her portrait. On one side of
the saree she is giving shelter to a girl, who is representing the orphan
homeless child. On the other side a sick person is lying on her knee,
where as another figure is sleeping on the lap of Mother Teresa.
mother Teresa’s right palm is rise in the form of blessing. Husain’s
lines are sharp and full of expression. Mostly colours are flat light and
dark tones can be seen at few places.
Collection- National Gallery of Modern Art, New Delhi
Q11.Mention the names of any three painters, a graphic-artist and

a sculptor of the contemporary (modern) Indian Art included in
your course of study, which you like most.
OR
Which one of the contemporary Indian painter you like the most?
Write about the style, characteristics, materials etc. of his/her
works.
Ans. Three painters :- Raja Ravi Verma, Jamini Roy, M.F. Hussain
A graphic-artist :- Somnath Hore
A sculptor :- Ramkindar Baij
OR
The painting which I like the most is “Mother Teresa” by M.F. Hussain.
He is one of the most versatile artist of that phase. He played a role to
develop modern Indian art In International platform.
Painting – Mother Teresa

Period- 1997
Description-
Mother Teresa’s right palm is rise in the form of blessing. Husain’s
Q12. Which human life-values and emotions are shown in any of

the following art-works of the Contemporary (Modern) Indian Art
? Explain in short :-
(a) Mother and Child (a painting)
OR
(b) Children (a graphic-print)
OR
(c) Cries Un-heard (a sculpture)
Ans. a)
Artist - Jamini Roy
Period - 1930
Description-
Jamini Roy is among those artists who painted independently without
being impressed by Bengal school and introduced a new and modern
style in India. His new experiments were based on folk art of Bengal
specially the Kalighat Pata painting.
In this vertical composition he has immortalized motherhood by
drawing mother and child as Yashoda & Krishna. The space is nicely
filled with figure and other objects. Lady is shown holding a child with
her left arm on the left side of her waist. Faces are cup shaped; eyes
are elongated like fish shaped with thick eyebrows. Mother’s head is
tilted towards her child. The child is totally naked while the mother is
wearing a saree. Both mother and child are decorated with ornaments.
The folk motives in the background captured the simplicity of local and
rural lifeMother is wearing dark brown saree with border. Brown colour
is dominant in the painting. The use of yellow Ochre is also very
beautiful. White colour is used for ornaments and flowers and working
as high light .
Collection – National Gallery of Modern Art, New Delhi
b)
Artist - Somnath Hore
School - Modern School (Graphic Print)
Medium - Etching and Aquatint (Graphic Print)
Period - 1955 to 1970
Description -
Somnath Hore has created many works representing hungry children
with their mother. This etching also shows two children with bloated
stomach and thin ribs are shown with liner effect. Their mother is
standing behind them and has put her protective hand on their
shoulder. Suitable tones of mild blue, grey and black used for the
theme of under nurtured children who represent the existence of poor
in a depressed society. This graphic print is showing the human life
value of our society
c)
Artist – Amarnath Sehgal
School - Modern School (Sculpture)
Medium - Bronze (Modern Sculpture)
Period – 1958 A.D.
Description -
There are three standing figure of a family with their gloomy faces
showing agony and distress. Man, woman and a child stand with their
hands raised upwards. these figures are simplified and almost primitive
simplicity gives an element of strength to this sculpture. The sculpture
has suggested the cries op suffering human by making hollowness in
their heads. Made mask like faces keep appearing again and again in
the sculpture of Amarnath Sehgal, which is showing the human life
values.
Q13. Which human life-values are shown in any of the following

art-works of the contemporary (modern) Indian Art ? Explain in
short :
(a) Mother Teresa (a painting)
(b) Of Walls (a graphic-print)
(c) Triumph of Labour (a sculpture)
Ans. a) Painting – Mother Teresa
Period- 1997
Description-
b) Painting – Off walls
Artist - Anupam Sood
Medium - Lithography (Graphic Print)
Period - 1982
Description -
Anupam Sood used her perfect craftsmanship and understanding of
anatomy to create composition in which figures are playing a
prominent role. Off Wall is a lithograph print taken by the help of the
limestone in which a woman form is sitting under a wall and on the
foreground a male lower limb has been drawn. This print is showing
the humanity, emotions, life value and internal feeling of human being.
The wall is printed in brown colour and line drawing of folk paintings is
drawn in the wall in white colour.
c) Painting –
Artist – D.P. Rai Chowdhury
Medium - Bronze and Cement (Modern Sculpture)
Description -
This is sculpture is displayed in front of the National Gallery of Modern
Art and can be seen by passing through men road of India Gate. In this
sculpture four labours are engaged in a task of moving a block of stone
with the help of wooden logs. All the labours are wearing only loin
cloths and two of them have covered their heads with a piece of cloth.
These labours are working in a hilly area. Through this sculpture the
artist has conveyed the idea of united efforts that can move any
blockade. This sculpture is showing the human life values.
Q14. Mention the name of artist of each of the following

contemporary (modern) Indian art-works included in your course
of study :
(a) Rama Vanquishing the Pride of the Ocean (a painting)
(b) Cries un-heard (a sculpture)
Ans. a) Artist - Raja Ravi Verma
Period - Late 19th century A.D.
Description-
This painting is an episode from Balmiki’s Ramayana. After
preparing his force for invading Lanka to recover Sita, Rama was
held up by the sea. Attempts to build a bridge were washed out
by the ocean. Rama threatened to destroy Varuna, the god of
ocean. Varuna and his consort rush forward to pacify the angry
Rama.
In this painting Raja Ravi Verma has shown his ability to capture
movement and motions of his composition on the principle of
dynamic balance. Rama’s posture and fluctuating drapery
suggest wind blowing from the ocean.
The solid rocks in the foreground provide in contrast to the
smooth surface of the ocean. The vertical form of Rama builds
efforts of bravery and strength. Rama is shown standing with bow
and arrow. A lightning is shown beautifully on the dark
background.
Collection - Chitrashala, Mysore
b) Artist – Amarnath Sehgal

Description -
showing agony and distress. Man, woman and a child stand with
their hands raised upwards. these figures are simplified and
almost primitive simplicity gives an element of strength to this
sculpture. The sculpture has suggested the cries op suffering
human by making hollowness in their heads. Made mask like
faces keep appearing again and again in the sculpture of
Amarnath Sehgal, which is showing the human life values.
Q15. Raja Ravi Verma mastered the style of academic realism and
used it to depict scenes from popular epics like the Ramayana
and Mahabharata. The paintings on epics became so popular that
many of them were copied as oleographs and were sold in market
and entered people’s homes as calendar images. Based on its
compositional arrangement why do you like or dislike the
painting?
Ans. The painting I like, which is made by Raja Ravi Verma is “Rama
vanquishing the pride of the Ocean”
Compositional Arrangement :-
Artist - Raja Ravi Verma
Period - Late 19th century A.D.
Description-
This painting is an episode from Balmiki’s Ramayana. After preparing
his force for invading Lanka to recover Sita, Rama was held up by the
sea. Attempts to build a bridge were washed out by the ocean. Rama
threatened to destroy Varuna, the god of ocean. Varuna and his
consort rush forward to pacify the angry Rama.
In this painting Raja Ravi Verma has shown his ability to capture
movement and motions of his composition on the principle of dynamic
balance. Rama’s posture and fluctuating drapery suggest wind blowing
from the ocean.
The solid rocks in the foreground provide in contrast to the smooth
surface of the ocean. The vertical form of Rama builds efforts of
bravery and strength. Rama is shown standing with bow and arrow. A
lightning is shown beautifully on the dark background.
Collection - Chitrashala, Mysore
Q16. In this painting three women are portrayed in the centre of
the picture plane with yellow, white and red saris, placed within
the background of trees and nature. A dark black and brown
portrayal of a woman 3 marks behind the tree, seems to be in a
resting mood also catches the eyes of the viewers.
a) Identify and name the artist.
b) Name the painting and the common spice depicted in it?
c) Does the massive power of rural women reflect in the subject
matter of the painting?
Explain logically with your artistic point of view.
Ans. a) The artist is “Amrita Shergil”.
b) The painting depicted here is “Haldi Grinder” and the common spice
is “Turmeric”.
c) Yes, the massive power of rural women reflect in the subject matter
of the painting. Amrita Shergil had great empathy and fascination for
rural, poor and authentic India. This painting is a very honest depiction
of the domestic Indian household. It shows women doing a routine
work of grinding turmeric. Here we see the view through two thick
trunks the two women sitting sideways in profile and grinding on a
stone grinder. Their heads are covered and faces are dark with no
emphasis on facial features. There is a young girl sitting next to them
with turmeric seeds. One more head is visible at the far end of the
composition which is again veiled and obscure.
The female forms are simplified and abstract in a very modern style.
The trees specially the details of leaves carry the influence of Indian
painting that she encountered after coming to India. Hence this
painting is in extraordinary mix of eastern and western art. Amrita’s
colour are flat and entirely with intense of red, yellow occur, brown,
yellow and green.
Q17. The painting shows a faceless figure with soft flowing
drapes of the blue bordered white saree that is adorned by a
female figure, she is carrying a sick person protectively on her
lap. The figure of this female acquires a certain monumentality
and the stature of the universal mother, while the figure of the
man is vulnerable and lies in her lap.
a) Identify the painting and name the artist.
b) According to your understanding who can be the central female
figure in this painting?
Appreciate in short, a few aesthetic qualities that you admire in
this artwork.
Ans. a) The painting here is “Mother Teresa” and the artist is “M.F.
Hussain”.
b) Mother Teresa
A few aesthetic qualities that I admire in this artwork are:-
Period- 1997
Description-
Q18. Appreciate the following contemporary (Modern) Indian

painting Mother Teresa
duly based on its:-
(a) Name of the painter
(b) Medium & technique
(c) Subject-matter and
(d) Composition
Ans. a) Artist – M.F. Hussain
b) Medium & technique - Oil on canvas (Painting)
c) Subject matter & description –
Period- 1997
Description-
figure Mother Teresa has been depicted through her flowing drapes
of the blue bordered white saree instead of her portrait. On one side
of the saree she is giving shelter to a girl, who is representing the
orphan homeless child. On the other side a sick person is lying on
her knee, where as another figure is sleeping on the lap of Mother
Teresa. Mother Teresa’s right palm is rise in the form of blessing.
Husain’s lines are sharp and full of expression. Mostly colours are
flat light and dark tones can be seen at few places.
Q19. Name two graphic prints from your course of study which
show composition based on human figures also. Write about the
name of the method and material used for making these prints.
Ans. Children :- Etching and Aquatint (Graphic Print)
In etching a metal plate specially zinc plate is processed by nitric acid
and use of an etching needle to create the image on the plate and take
the print out by the help of printing press.
Aquatint – a print resembling a watercolour, made by etching a copper
plate with nitric acid & using resin and varnish to produce areas of
tonal shading.
Man, Woman & Tree :- Lithography (Graphic Print)
The image is drawn on a limestone generally known as litho stone with
litho pencil and glue is applied on. After that stone is formatted in acid
and the stone is ready for print.
Q20. Short note :

(a) Children
Ans. Artist - Somnath Hore
Medium - Etching and Aquatint (Graphic Print)
Period - 1955 to 1970
Description -
Somnath Hore has created many works representing hungry children
with their mother. This etching also shows two children with bloated
stomach and thin ribs are shown with liner effect. Their mother is
standing behind them and has put her protective hand on their
shoulder. Suitable tones of mild blue, grey and black used for the
theme of under nurtured children who represent the existence of poor
in a depressed society. This graphic print is showing the human life
value of our society
Q21. Which one of the contemporary Indian Sculptor you like the
most? Write about the style characteristics materials etc. of
his/her work.
Ans. The Indian Sculptor I like the most is “Ramkinkar Baij”. In this
sculptor “Santhal Family” made by him,he has depicted the human life
values and the struggles made by a family who is migrating from one
place to another.
Compositional arrangement of the sculptor :-
Artist – Ramkinkar Baij
Medium - Cement and Concrete (Modern Sculpture)
Description -
Rough textured group of Santhal Family with its multiple figures and
strong movement is shown in this sculpture.
In this composition a male and a female figure is standing side by side
with walking action. a dog with them and a child is seating on a front
side basket hanging from the balancing rod. The backside basket of
the balancing rod is filled with some household material. The female is
walking beside the man has carried the load on her head and carried
her child in her left waist. It is an entire family in migration. This
roadside sculpture is placed on a rough textured land of Santiniketan
and made with graves, cement and red clay of that area which are
easily available.
Collection – Viswa Bharati, Santiniketan, West Bengal
Q22.Short note :
(a) Cries Unheard
(b) Triumph of Labour
Ans. a) Cries Unheard
Artist – Amarnath Sehgal
Description -
showing agony and distress. Man, woman and a child stand with their
hands raised upwards. these figures are simplified and almost primitive
simplicity gives an element of strength to this sculpture. The sculpture
has suggested the cries op suffering human by making hollowness in
their heads. Made mask like faces keep appearing again and again in
the sculpture of Amarnath Sehgal, which is showing the human life
values.
b) Triumph of Labour
Artist – D.P. Rai Chowdhury
Medium - Bronze and Cement (Modern Sculpture)
Description -
This is sculpture is displayed in front of the National Gallery of Modern
Art and can be seen by passing through men road of India Gate. In this
sculpture four labours are engaged in a task of moving a block of stone
with the help of wooden logs. All the labours are wearing only loin
cloths and two of them have covered their heads with a piece of cloth.
These labours are working in a hilly area. Through this sculpture the
artist has conveyed the idea of united efforts that can move any
blockade. This sculpture is showing the human life values.
Q23. Name two famous sculptors and their artwork that reflects
the condition of poor people in India at that time.
Ans. Triumph of Labour by “D.P. Rai Choudhary” and Santhal Family
by “Ramkinkar Baij”.
ALL THE VERY VERY BEST ☺
MAY GOD BLESS YOU ALL ☺

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✓ Start ANSWER WRITING from the second page.

Describe our “Indian National Flag”.

Q3. Describe our “Indian National Flag”.

a) Saffron: Courage and Sacrifice

b) Dharma charka (The Wheel of Law): Progress of our Nation

Q5. Describe the main features of the paintings of the Bengal

Q6. Identify any relevant painting of the Bengal School included

Q7 . Which one do you like or dislike most among all the

Painting – Journey’s End

Q9. Write an essay on Bengal school of art based on the following

iv) My favourite artist is Abanindranath Tagore and the famous painting

Painting – Mother Teresa

Q11.Mention the names of any three painters, a graphic-artist and

Painting – Mother Teresa

Q12. Which human life-values and emotions are shown in any of

Q13. Which human life-values are shown in any of the following

Q14. Mention the name of artist of each of the following

b) Artist – Amarnath Sehgal

Q18. Appreciate the following contemporary (Modern) Indian

Q20. Short note :

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