The Movement of Modern Indian art in Indian paintings is considered to have begun in Calcutta at the end of the nineteenth century. The old tradition of painting is more or less dead in Bengal and the new art schools started by the British. Initially, Indian art protagonists such as King Ravi Varma draw on Western traditions and techniques including oil paint and horses paintings. The reaction to Western influence led to the rise of primitivism, the so-called Bengal art school, which draws from India's rich cultural heritage. It was replaced by Santiniketan school, headed by Rabindranath Tagore which brings back to the rural life and beautiful villagers. Despite its influence across the country in the early years, the importance of the School declined by the 'forties' and is now as good as death.
Video Modern Indian painting
English art school
Oil paintings and horses In India began in the early 18th century which saw many European artists, such as Zoffany, Kettle, Hodges, Thomas and William Daniell, Joshua Reynolds, Emily Eden and George Chinnery out to India to seek fame and fortune. The courts of the Indian prince countries are of critical interest to European artists because of their protection from the visual arts and performances as well as their need for European style portraits
Traders from the East India Company also provide a large market for indigenous art. A different genre developed from watercolor painting on paper and mica in the final half of the 18th Century depicting scenes of everyday life, prince court regalia, and indigenous celebrations and rituals. Named as "Company style" or "Patna style", it developed initially in Murshidabad and spread to other cities in British sovereignty. This style is considered by the authorities to be "hybrid style and quality is not special".
Post-1857, John Griffiths and John Lockwood Kipling (father of Rudyard Kipling) came out to India together; Griffith went on to lead the Sir J. J. Arts School and is considered one of the best Victorian painters to come to India and Kipling goes to the head of the J. J. Arts School and the Mayo Art School, established in Lahore in 1878.
The enlightened eighteenth century attitude demonstrated by the early generations of England to Indian history, monuments, literature, culture and art took a turn in the mid-nineteenth century. Previous manifestations of Indian art were brushed as "dead" and museum items; "From an official British perspective, India has no living art". To spread Western values ​​in arts education and the colonial agenda, the English-established school of art in Calcutta and Madras in 1854 and in Bombay in 1857.
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Raja Ravi Varma
King Ravi Varma (1848-1906) was an outstanding Indian self-taught painter from the royal state of Travancore. His exposure in the west came when he won first prize at the Vienna Art Exhibition in 1873. Varma's painting was also sent to the Colombian World Fair held in Chicago in 1893 and his work received two gold medals. He was considered the first of the modernists, and, together with Amrita Sher-gil (1913-1941), a major exponent of Western engineering to develop a new aesthetic in the subjective interpretation of Indian culture with "the promise of materiality in the oil medium and the reality-the paradigm of the mirror/window format from the painting of the horses ". Some other eminent Indian painters born in the 19th century were Mahadev Vishwanath Dhurandhar (1867-1944), Antonio Xavier Trindade (1870-1935), Manchershaw Fakirjee Pithawalla (1872-1937), Sawlaram Lakshman Haldankar (1882-1968) and Hemen Majumdar (1894-1948).
Varma's work is regarded as one of the best examples of the blend of Indian tradition with European academic art techniques, within a 19th-century colonial-nationalistic framework. He is greatly remembered for his painting of beautiful sari women, who are portrayed as beautiful and elegant. Varma became the most famous alegor of Indian subjects in his portrayal of scenes from the Mahabharata and Ramayana epics.
King Ravi Varma considers his work as "building the identity of a new civilization in 19th century Indian terms". He aims to form a canton of Indian art by way of classical Greek and Roman civilization. Varma art plays an important role in the development of national awareness of India. Varma bought a printing press that produced a copy of his painting oleography adorning the middle class houses of India, decades after his death. Considered a genius in his heydey, within a few years after his death, Varma's paintings are under intense pressure to imitate Western art.
King Ravi Varma died in 1906 at the age of 58 years. He is considered the greatest painter in Indian art history.
The Bengal School
During the colonial era, Western influence began to affect Indian art. Some artists develop a style that uses the idea of ​​Western composition, perspective, and realism to illustrate the Indian theme, King Ravi Varma being prominent among them. The Bengal School emerged as an avant garde and the nationalist movement reacted to an academic art style previously promoted in India, by Indian artists such as Varma and the British art school.
Following the widespread influence of Indian spiritual ideas in the West, the English art teacher Ernest Binfield Havel sought to reform the teaching method at the Calcutta School of Art by encouraging students to emulate Mughal miniatures. This caused a great controversy, which led to student strikes and complaints from the local press, including from nationalists who regarded it as a step backward. Havel is supported by artist Abanindranath Tagore, the nephew of the poet Rabindranath Tagore.
Abanindranath painted a number of works influenced by Mughal art, a style he and Havel believed to be expressive of the different spiritual qualities of India, as opposed to Western "materialism". Her most famous painting, Bharat Mata (Mother India), depicts a young woman, portrayed with four hands in the way of Hindu deities, holding symbolic objects of Indian national aspiration. Other prominent figures of the Bengali art school are Gaganendranath Tagore, Abanindranath's oldest brother, Jamini Roy, Mukul Dey, Manishi Dey and Ram Kinker Baij, better known as the pioneers of the Modern Indian Statue. Another important character of this era is Chittaprosad Bhattacharya, who rejects the classicism of the Bengal School and its spiritual preoccupation. His book Hungry BengalÃ,: a tour through the Midnapur District includes many sketches of Bengal Famine taken from life, as well as documentation of the people depicted. The book was soon banned by Britain and 5,000 copies were confiscated and destroyed. Only one copy is hidden by the Chittaprosad family and is now in possession of the Delhi Art Gallery.
During the opening years of the 20th century, Abanindranath developed relationships with Japanese cultural figures such as the art historian Okakura Kakuz? and painter Yokoyama Taikan as part of a global Modernist initiative with pan-Asian tendencies.
Those associated with this Indo-Far Eastern model include Nandalal Bose, Benode Behari Mukherjee, Vinayak Shivaram Masoji, B.C. Sanyal, Beohar Rammanohar Sinha, and their students A. Ramachandran, Tan Yuan Chameli, and others. The influence of Bengal schools on Indian art gradually began to diminish with the spread of modernist post-independence ideas.
Santiniketan
The Bengal School Mantel was taken when Rabindranath Tagore founded Santiniketan visionary university, a university focusing on the preservation and enhancement of Indian culture, values, and heritage. These include the art school "Kala Bhavan" which was founded in 1920-21. Although Rabindranath himself came too late to paint in his long and productive life, his ideas deeply influenced Indian modernism. Personally, Tagore made small pictures, stained with ink, which inspired him by his primitivism of his unconsciousness. In public life, Rabindranath's primitivism can be directly attributed to anti-colonial resistance, similar to Mahatma Gandhi.
One of Abanindranath Tagore's early students was Nandalal Bose, who later became a teacher and later became an art director. Nandalal led the school to a position of excellence in a nationalistic ideology now emerging in Indian culture. The Shantiniketan school of thought emphasizes that "aesthetics is also an ethos, that the role of art more than improves life, it is the formation of the world". This sets the Indian version of naturalism different from oriental and western schools, one example being the avoidance of oil paintings and horses to work on paper drawn with watercolor, wash, tempera and ink. Rabindranath Tagore's dream of worshiping old values, symbolized by motifs such as the rural people, especially the Santhas, began to fruition in schools related to the art of the Viswa-Bharati University in Santiniketan. Some of the famous artists from Santiniketan school are Benode Behari Mukherjee, Ramkinkar Baij, Shanko Chowdhury, Dinkar Kowshik, Subramanyan KG, Beohar Rammanohar Sinha, Krishna Reddy, A Ramachandran, Shobha Brhma, Ramananda Bandhapadhyay, Dharma Narayan Dasgupta, Sushen Ghose, Janak Jhankar Narzary.
Contextual Modernism
The idea of ​​Contextual Modernism emerged in 1997 from R. Siva Kumar Santiniketan: The Making of Contextual Modernism as a postcolonial critical tool in the understanding of alternative modernism in the previous visual art of colonies such as India, especially Santiniketan artists.
Some of the terms including Paul Gilroy's modernist cultural contra and Barlow's colonial modernity have been used to describe the kind of alternative modernity that emerges in non-European contexts. Professor Gall argues that 'Contextual Modernism' is a more suitable term because 'colonial in colonial modernity' does not accommodate the rejection of many people in a colonized situation to internalize inferiority. The insistence of subcultural teachers of Santiniketan 'counter the vision of modernity, which seeks to restore racial and cultural essenceism that encourages and characterized the imperial western modernity and modernism. European modernity, projected through the victorious British colonial power, provoked a nationalist response, was equally problematic as they incorporated similar essentialism. "
According to R. Siva Kumar "The Santiniketan artists were one of the first to consciously challenge this idea of ​​modernism by opting out of internationalist and nativeistist modernism and trying to create context-sensitive modernism." He has studied the works of Santiniketan teachers and thinks about their approach to art since the early 80's. The practice of including Nandalal Bose, Rabindranath Tagore, Ram Kinker Baij and Benode Behari Mukherjee under the Bengali School of Art, according to Siva Kumar, are misleading. This is because the original writers were guided by an apprentice lineage rather than their style, world view, and perspective on art practice.
Contextual Modernism in the past has found its use in other fields of study related, especially in Architecture.
Post-independence
At the time of Independence in 1947, several art schools in India provided access to modern techniques and ideas. The gallery was established to showcase these artists. Modern Indian art usually exhibits Western-style influences, but is often inspired by Indian themes and images. Major artists began gaining international recognition, originally among Indian diaspora, but also among non-Indian audiences.
The Progressive Artists' Group, established not long after India's independence in 1947, is meant to build new ways to express India in the post-colonial era. Its founders were Francis Newton Souza and S. H. Raza, M. F. Husain and Manishi Dey were early members. It is very influential in changing the idiom of Indian art. Almost all the great Indian artists of the 1950s were associated with the group. Prominent among them are Akbar Padamsee, Sadanand Bakre, Ram Kumar, Tyeb Mehta, K. H. Ara, H. A. Gade and Bal Chabda. In 1950, V. S. Gaitonde, Krishen Khanna, and Mohan Samant joined the Group. The group was dissolved in 1956.
Other famous painters like Narayan Shridhar Bendre, KKHebbar, KCS Paniker, Sankho Chaudhuri, Antonio Piedade da Cruz, Subramanyan KG, Beohar Rammanohar Sinha, Satish Gujral, Bikash Bhattacharjee, Jehangir Sabavala, Sakti Burman, A. Ramachandran, Ganesh Pyne, nirode Mazumdar, Ghulam Mohammed Sheikh, Jahar Dasgupta, Prokash Karmakar, John Wilkins, Vivan Sundaram, Jogen Chowdhury, Jagdish Swaminathan, Jyoti Bhatt, Bhupen Khakhar, Jeram Patel, Narayanan Ramachandran, Paramjit Singh, Pranab Barua, Dom Martin (Surrealistic Painter of Goa) and Bijon Choudhuri enriches the cultural arts of India and they have become the icon of modern Indian art. female artists such as B. Prabha, Shanu Lahiri, Arpita Singh, Anjolie Ela Menon and Lalita Lajmi have made major contributions to Indian Modern Art and Painting. art historians such as Prof. Rai Anand Krishna is also called the works of modern artists reflecting the Indian ethos. Some of the recognized Indian contemporary artists include Nagasamy Ramachandran, Jitish Kallat, Atul Dodiya and Geeta Vadhera who have had praise in translating complex spiritual themes, Indian into canvas like Sufi thinking, Upanishad and Bhagwad Geeta.
Indian Art got a boost with the country's economic liberalization since the early 1990s. Artists from various fields are now beginning to bring a variety of work styles. Post-liberalization Indian art works not only within the confines of academic tradition but also beyond. Artists have introduced new concepts that hitherto have not been seen in Indian art. Devajyoti Ray has introduced a new genre of art called Pseudorealism. The art of Pseudorealist is a genuine art style that has been fully developed on Indian soil. Pseudorealism considers the concept of Indian abstraction and uses it to change the regular scene of Indian life into fantastic images.
In post-liberalization India, many artists have established themselves in the international art market such as the abstract painter Natvar Bhavsar, the abstract art painter Nabakishore Chanda, and the Anish Kapoor sculptor whose post-mammoth art has gained attention due to its enormous size. Many art houses and galleries have also been opened in the United States and Europe to showcase Indian artwork.
Art scholars such as C. Sivaramamurti, Anand Krishna, R. Siva Kumar and Geeta Kapur have taken Indian Art to a global platform.
References
Modern Art by Famous Indian Artist in Indian Art Idea
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