NIOS CLASS 10 PAINTING CHAPTER-9 CONTEMPORARY INDIAN ART

 

Chapter 9

CONTEMPORARY INDIAN ART

 

INTEXT QUESTIONS 9.1

1. Name the print making technique artists use.

Ans: Dry point, Aquatint, Intaglio are the printmaking techniques artists use.

2. Which print making technique has been used by Krisna Reddy for “Whirl-pool”?

Ans: Intaglio printmaking technique has been used by Krisna Reddy for “Whirl- Indian Art pool”.

3. What do you know about Krishna Reddy’s work “Whirlpool”?

Ans: Krishna Reddy’s main interest in the picture is to capture the force of nature. Everything is lost in the cosmic whirlpool. The images in the picture are abstract forms of stars, flowers, and clouds.

INTEXT QUESTIONS 9.2

1. Write about Benode Behari’s teacher and his place of education.

Ans: Benode Buhari's teacher-teacher was Nandlal Bose, a famous Bengal School painter.

2. Write in two lines about the technique of “Fresco-Buono”.

Ans: It is a technique where powdered shades are blended in water and are applied to a wet newly laid lime mortar ground.

3. What are the colours, mainly used in “Mediaeval Saints” Mural?

Ans: Brown, yellow ochre, Terraverde Are the colours, mainly used in “Mediaeval Saints” Mural.

4. What was Benode Behari’s phyical problem?

Ans: Benode Buhari's physical problem was a weak sight and later on, he became blind.

INTEXT QUESTIONS 9.3

1. Mention the role of K.C.S. Panikar in the art scene of South India.

Ans: He was generally compelling and pioneer in the improvement of contemporary workmanship  development in the south.

2. What is ‘Cholamandalam’? How it is related to Panikar?

Ans: He set up the principal craftsman town of India close to Chennai named "Cholamandalam".

3. Write two lines on enlisted paintings of Panikar.

Ans: "Words and Symbols" is an exploratory work where space is covered with calligraphy.

INTEXT QUESTIONS 9.4

1. Name one of the founders of “The progressive Artist Group”.

Ans: F. N. Souza is one of the founders of “The progressive Artist Group”.

2. Write on few important qualities of Souza’s “The landscape in Red”.

Ans: Test cityscape vision of the secretive world, calligraph, no conventional viewpoint.

3. Who did inspire Souza’s art?

Ans: Picasso and Matisse inspire Souza's art. The current work from 1960 is a view from the top of Souza's London studio. The artwork is done in the craftsman's energetic, striking brushstrokes, normal for his scenes from this period. Dissimilar to the more organized creations of the 1950s, Souza's scenes of the mid-1960s become continuously more conceptual and gestural and are injected with Souza's energy, noticeable in both piece and method. While a few of Souza's scenes from this time we're propelled by the structures and design around his studio in North London, the scenes become less exacting and are more worried about his impressions and feelings.

4. Name the foreign cities Souza Stayed.

Ans: The foreign cities Souza Stayed were Picasso and Matisse.

      In 1947 he was an establishing individual from the Bombay Progressive Artists' Group which urged Indian craftsmen to partake in the worldwide avant-garde.

      In 1948 Souza's canvases were displayed at a display in London's Burlington House. In 1949 Souza moved to London, where at first battling to affect a craftsman, he filled in as a writer.

      The Institute of Contemporary Arts remembered his work for a 1954 presentation. His prosperity as a craftsman took off after the distribution in 1955 of his self-portraying paper Nirvana of a Maggot in Stephen Spender's Encounter magazine.

      High-roller acquainted Souza with the workmanship seller Victor Musgrave, the proprietor of Gallery One. Souza's 1955 show was sold out, prompting continuous success.

      Souza's vocation grew consistently, and he partook in a few shows, getting positive surveys from John Berger.

 

TERMINAL EXERCISE

1. Describe the influences that helped in the development of contemporary art of India.

Ans: Impacts upon these developments were changed: from introduction to Eastern brightening expressions, especially Japanese printmaking, to the coloristic advancements of Turner and Delacroix, to a quest for more authenticity in the portrayal of basic life, as found in crafted by painters, for example, Jean-Francois Millet.

      The Modern Indian craftsmanship development in Indian artwork is considered to have started in Calcutta in the late nineteenth century.

      The old customs of painting had pretty much vanished in Bengal and new schools of workmanship were begun by the British.

      At first, heroes of Indian workmanship, for example, Raja Ravi Varma drew on Western customs and strategies including oil paint and easel painting.

      A response toward the Western impact prompted a restoration in primitivism, called the Bengal school of craftsmanship, which drew from the rich social legacy of India.

      It was prevailing by the Santiniketanschool, driven by Rabindranath Tagore's beholding back to ideal provincial society and country life.

2. Write about two painters of India who settled abroad and became famous.

Ans: The two painters of India who settled abroad and became famous are

• Tyeb Mehta
• Satish Gujral

       Brought into the world in Jhelum in pre-segment West Punjab, Satish Gujral joined the Mayo School of Art in Lahore in 1939; and in 1944, he was selected as the Sir J.J. School of Art in Mumbai.

       Nonetheless, in 1947, he needed to exit school because of common sickness. In 1952, Gujral got a grant to learn at the Palacio de Bellas Artes in Mexico City. Here he apprenticed to the eminent Mexican craftsmen Diego Rivera and David Alfaro Siqueiros. Satish Gujral proceeded to get one of the main craftsmen of post-Independent India.

3. What do you know about the Indian painter who became blind?

Ans: BenodeBehari Mukherjee is the indian painter who became blind later on.

       BenodeBehari Mukherjee (7 February 1904 – 11 November 1980) was an Indian craftsman from West Bengal state. Mukherjee was one of the pioneers of Indian current workmanship and a critical figure of Contextual Modernism.

       He was probably the soonest craftsman in present-day India to take up to wall paintings as a method of masterful articulation.

       Every one of his paintings portrays an inconspicuous comprehension of nature through spearheading structural subtleties.

4. Write in brief about the Artist-Souza.

Ans: Francis Newton Souza (12 April 1924 – 28 March 2002) was a Goan craftsman. He was an establishing individual from the Progressive Artists' Group of Bombay and was the principal present autonomy Indian craftsman on accomplishing high acknowledgment in the West. Souza's style displayed both deadbeat and high energy.

       Francis Newton Souza was destined to Roman Catholic guardians of Goan starting point in the town of Saligao, Goa.

       In 1929, after he had moved to Mumbai with his bereft mother, he endured an assault of smallpox which left him scarred forever. His thankful mother added Francis to his name, after St Francis Xavier, the supporter holy person of Goa.

       He went to St. Xavier's College in Bombay, being ousted for attracting spray painting a latrine which he asserted he was amending, however, the ministers didn't acknowledge his claims.

       Souza learned at Sir J. J. School of Art in Bombay yet was removed in 1945 for his help for the Quit India Movement.

5. Describe in brief of Panikar's one of the famous paintings.

Ans: K. C. S. Paniker (1911–1977) was a supernatural and theoretical painter from India. He deciphered the nation's well established mystical and profound information during the 1960s when Indian craftsmanship was affected by the Western painters.

       K.C.S.Paniker (1911 - 1977) was a moving craftsmanship educationist. Two ages of better-known specialists from the profound south would vouch for the real substance of the assertion.

       Yet, that doesn't say much regarding his critical commitment to current Indian workmanship.

       Of more noteworthy significance was his function as a foundation developer. The transformation of the middle age organization idea for building the Cholamandal craftsmen co-employable was a visionary demonstration, as of which we have a couple of models in current India.

       Nonetheless, even this visionary demonstration can't be viewed as a huge commitment to present-day Indian craftsmanship as such.

       Of a more noteworthy significance, to present-day Indian craftsmanship, in essence, was his transformation of some sort of post-impressionist stylistics for scenes, that before long prompted his giving a lead to the development of the Progressive Painters' Association of Madras in 1947-48.

       The development itself was by the significant move in the workmanship praxis of the forties which saw the progressive foundation of the Calcutta Group in 1943, the Progressive Artists Group of Bombay in 1947, and the Delhi Shilpi Chakra of 1951.