Famous Paintings of the Bengal School

Tiller of the Soil:

• Dr. Nandalal Bose’s “Tiller of the Soil” is one of the panels he created for the Haripura Congress session in 1938
• In this panel, a farmer is seen ploughing a field, which is a routine task for the average person in a hamlet
• He employed thick tempera in a strong cursive manner and broad brushwork to create his paintings. This method and manner resembled the traditional folk-art practice of Patuas, also known as scroll painters
• This folk style was intentionally utilized to reflect rural life conveying its essence. It also expresses Gandhi’s political message about the concept of the village. The poster’s backdrop is framed by a curved arch
• Ajanta wall paintings and sculptures served as an inspiration for Nandalal Bose’s use of strong formal design, a vibrant color palette, and a combination of nature and convention, all of which are evident in this panel
• More than 400 posters were created at Kala Bhavana under the direction of Nandalal Bose, who was heavily inspired by Gandhi’s philosophy of nonviolence. The ordinary people are placed at the heart of nation-building in these posters
• Nandalal Bose used art to help establish the moral character of the country, and he succeeded in doing so

Rasa-Lila:

• Kshitindranath Majumdar (1891–1975) created Rasa Lila watercolor painting in the wash[3]  method depicting the divine life of Sri Krishna
• He was one of Abanindranath Tagore’s first pupils, and he was responsible for carrying on the wash tradition, although with some modifications. His aesthetic characteristics are shown via rustic, thin, slender people, modest motions, idyllic locations, and exquisite watercolors. He has painted mythical and religious topics throughout his career
• Bhakti Marga devotee Radha Man Bhanjan, Sakhi and Radha; Lakshmi; and the Birth of Sri Chaitanya are only a few instances of his amazing capacity for expression shown in the painting Rasa Lila, which is motivated by his knowledge of religious principles as a follower of Bhakti Marga
• As shown in the Bhagavata Purana and the Gita Govinda, Krishna is dancing with Radha and the sakhis, and the backdrop of trees provides a simple village mood similar to that seen in this artwork
• Figures and their clothing are created with simple, flowing, and delicate lines, just how they should be
• The characters’ magnificent emotions are well conveyed in this painting called Rasa Lila. Krishna and Gopis are shown in the same proportion as each other. As a result, humanity and God are placed on an equal footing

Radhika:

• This is a wash and tempera painting on paper by Abdul Rehman Chughtai (1899–1975), which you can see in the gallery
• He was a direct descendent of Ustad Ahmed, the primary architect of Shahjahan’s palaces and palace complexes
• Jama Masjid, Red Fort, and Taj Mahal in Agra are among the structures he was responsible for designing
• Chughtai experimented with a particular character of the calligraphic line of the washing method, which is reminiscent of Mughal manuscripts and antique Persian paintings. The results were stunning. Consequently, his paintings take on a more sensual feel
• As Radhika walks away from a bright candle in this picture, it seems like she is in a trance or feeling sorrow for what she has done. The theme is based on mythology from Hinduism
• The Indo-Islamic, Rajput, and Mughal worlds were all represented in his paintings, as were characters from mythology, folklore, and historical figures
• The contrast of light and shadow in the backdrop is the pinnacle of simplicity at its most exquisite
• Chughtai has artistic connections with legendary Chinese and Japanese masters, as well as with contemporary artists. Every line of the script is painted smoothly as if it were calligraphy with a lyrical feel to it. It’s as though poetry has taken on a visual shape
• Among the other pieces that exhibit these lyrical elements are Omar Khayyam, Gloomy Radhika, Hiraman Tot, Dream, Lady beneath a Tree, Musician Lady, Man behind a Tomb, Lady near a Grave, and Lady lighting a Lamp (all by Salvador Dali)

City in the Night:

• City in the Night is a 1922 watercolor painting by Gaganendranath Tagore (1869–1938), which depicts the cityscape at night
• He was one of the first Indian artists to use Cubism’s vocabulary and grammar to express his thoughts, and one of its most influential figures
• Cubism’s rigid geometry was softened by adding a luscious profile, shadow, or contour of the human form
• He created a strange universe for his fictional cities, such as Dwarka (Lord Krishna’s fabled residence) and Swarnapuri (The Golden City), using numerous views, multi-faceted forms, and the jagged edges of Cubism to depict the enigmatic worlds of his imaginative cities
• As a consequence of his use of diamond-shaped surfaces and prismatic colors, he created shattered brilliance to depict the mountain ranges around the city
•  By grouping zigzag planes, it is possible to establish a tight formal framework for the painting. The picture is curiously lighted by artificial light, which is one of the characteristics of a theatrical setting
• It demonstrates his participation in his uncle Rabindranath Tagore’s play, which was produced at their home

Rama Vanquishing the Pride of the Ocean:

• Raja Ravi Varma created a painting based on a Puranic (old mythical legends) subject. He was one of the first Indian artists to utilize oil paint and master the skill of lithographic reproduction for mythical themes, and he was also one of the first to employ oil paint on canvas
• Paintings representing a historical event or scenario from epic or classical literature depicted in the middle of dramatic action are common in this genre. It is supposed to be a noble, monumental, and emotional experience for everybody involved
• Rama has to construct a bridge between southern India and the island of Lanka for his army to cross the ocean, as shown in this scene from the Valmiki Ramayana
• Rama prays to Varuna, the God of the Ocean, to permit him to cross the ocean, but Varuna does not answer his prayers
• Then, enraged, Rama takes to the air and fires his flaming arrow into the ocean
• Other paintings include Ahalya’s release, Rama’s breaking of Siva’s sacred bow before his marriage to Sita, and Rama, Sita, and Laksmana. The Saryu River, Ravana abducting Sita and being opposed by Jatayu, Sita in Ashoka Grove, Rama’s Coronation, and so forth

Journey’s End:

• Journey’s End is a watercolor picture created by Abanindranath Tagore (1871–1951) in 1913
•  The washing method creates an impressionistic environment that is soft, misty, and hazy. This wash’s foggy and atmospheric qualities are meant to be suggestive or evocative of a life coming to an end
• In this picture, a collapsed camel is shown against a crimson twilight backdrop, symbolizing the conclusion of a trip and the end of a day
• Abanindranath used symbolic aesthetics on one hand and literary references on the other to capture the picture and storytelling
• The Forest, Coming of Night, Mountain Traveller, Queen of the Forest, and a series of 45 paintings based on The Arabian Nights are his other works

Conclusion

The Swadeshi movement gave birth to the Bengal School of Art. In the above paragraphs,we looked in detail at some famous paintings of Nandalal bose, Gaganendranath Tagore, Raja Ravi Verma, and so on.