Key Points

In the mid-nineteenth century, the British established art schools in cities like Calcutta and Bombay. These schools promoted traditional Indian crafts that suited European tastes and academic art styles reflecting Victorian sensibilities.

As a reaction to colonial bias, a nationalist art movement emerged, led by the Bengal School of Art. Nurtured by Abanindranath Tagore and E. B. Havell, it sought to create a modern art style rooted in Indian traditions.

Established in 1919 by Rabindranath Tagore, Kala Bhavana at Visva-Bharati University was India's first nationalist art school. It carried the vision of the Bengal School but encouraged artists to explore new forms of expression.

Gaganendranath Tagore used the language of Cubism to create a unique style, while Rabindranath Tagore, late in life, developed a distinctive calligraphic style from his doodles, departing from the Bengal School's delicacy.

Under Nandalal Bose's guidance, artists Benode Behari Mukherjee and Ramkinker Baij developed unique styles. Mukherjee focused on themes like medieval saints, while Baij celebrated nature and rural life, particularly the Santhal tribe.

Created in 1937, 'Santhal Family' is a monumental outdoor sculpture by Ramkinker Baij. It is considered India's first public modernist sculpture and is notable for its use of modern materials like cement and pebbles.

Jamini Roy rejected his academic training and drew inspiration from Bengali folk art, like Kalighat paintings. He used bold forms and simple, pure colors, often made from natural materials, creating a distinct personal style.

Trained in Paris, Amrita Sher-Gil blended European modern art trends like Post-Impressionism with Indian themes and traditions. Her work, such as 'Haldi Grinder', is known for its experimental spirit and use of vibrant colors.

Formed in response to the Bengal famine, the Calcutta Group, led by Prodosh Das Gupta, rejected the sentimentality of the Bengal School. They sought to create art that was universal and spoke of their own contemporary times.

Led by F. N. Souza, this group included artists like M. F. Husain and S. H. Raza. They aimed to break from traditional art conventions and create a modern art that was both Indian and international.

M. F. Husain combined modern Western styles with Indian themes and colors, as seen in 'Mother Teresa'. S. H. Raza, on the other hand, moved towards abstraction, using concepts like the 'bindu' from Indian philosophy.

This is a large-scale bronze sculpture installed at Marina Beach, Chennai, in 1959. It depicts four men struggling to move a rock, celebrating the contribution of human labor to nation-building.

In the 1960s, artists like Biren De and G. R. Santosh turned to past traditions like Tantric philosophy and yantras. This led to a unique style of Indian abstract art known as Neo-Tantric art, which used geometric designs and patterns.

From the 1980s, artists like Gulam Mohammed Sheikh and Bhupen Khakhar at the Baroda Art School began using storytelling and figures in their art. They drew inspiration from art history, popular art, and their immediate surroundings.

A key figure of the Baroda School, K. G. Subramanyan was interested in murals and making art accessible to the public. He drew inspiration from various traditions, including folk art like Kalighat painting.

Printmaking became a powerful medium for social commentary and artistic experimentation. Key printmakers include Somnath Hore ('Children'), Krishna Reddy ('Whirlpool'), Jyoti Bhatt ('Devi'), and Anupam Sud ('Of Walls').

With globalization in the 1990s, artists began using new media like photography, video, and installation art. Installation art, practiced by artists like Nalini Malani and Vivan Sundaram, offered an immersive experience by combining various media in one space.

Modern sculptors experimented with unconventional materials. Amarnath Sahgal created abstract bronze works like 'Cries Un-heard', while Mrinalini Mukherjee used hemp-fibre to create monumental forms like 'Vanshri'.