Question

20th century western art impact in india

Answer 1

Western and colonial influence replaced much of traditional Indian painting during the end of the 19th century until the Bengal School of Art, established by Abanindranath Tagore and E. B. Havell, consciously attempted to reconnect Indian artists with their past. Paving the way for the future modernist movement, the Bengal School did a great deal to reshape contemporary taste by drawing inspiration from the past and bringing awareness to the heritage of Indian artists. As of 2012, there has been a resurgence of interest in the Bengal School of Art among scholars and connoisseurs, and the School continues to produce some of the best artists of modern India today, including Ganesh Pyne, Manishi Dey, Nirmal Dutta, Nilima Dutta, Jahar Dasgupta, Bikash Bhattacharjee, Sudip Roy, Devajyoti Ray, and Paresh Maiti.

Post-Independence Indian Art
By the time India gained independence in 1947, several schools of art in India provided access to modern techniques and ideas. This same year a group of six artists (K. H. Ara, S. K. Bakre, H. A. Gade, M. F. Husain, S. H. Raza, and F. N. Souza) founded the Progressive Artist’s Group, a group aimed at establishing new ways of expressing Indian art in the post-colonial era. Though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art.

Contemporary Architecture, Fashion, and Other Forms of Art
Outside of painting, the 1980s were marked by the growth of fashion schools in India, increased involvement of women in the fashion industry, and a widespread modification to Indian clothing as Indian and Western styles began to fuse.
Idealist Art History – A critique
Both Havell and Coomaraswamy began their art history careers as champions
of native craftsmanship, criticizing imperial policies and neglect for the
deteriorating state of craft traditions in India and Ceylon.8 By the second
decade of the 20th century however, the focus of their critique shifted away
from the ground realities of living craft practices towards the more conceptual
‘fine arts’ debate, with its civilizational implications for India. In a
strategically significant move, the nationalist scholars commandeered the
distinctively modern-Western category of ‘fine art’ as a frame within which to
recast and unify a large corpus of artefactual production found within the
subcontinent which had previously been fragmented under several colonialist.

The Indian Craftsman and Traditional Society
The Indian Craftsman in his idealist avatar is a singular, trans-historical entity
far removed from the contingencies and realities of the workshop and of
earning a livelihood. The artist/craftsman is viewed as secure in his social
position, unmindful of personal advancement except in the spiritual realm
and embodying the collective Vision of his society in material form in an
almost effortless application of unalienated labour. In Coomaraswamy’s
‘unanimous’ societies, “societies whose form is pre-determined by traditional
conceptions of order and meaning, there can hardly arise an opposition of
interest as between patron and artist.

Answer 2

Best example IN 20th century western art impact in india.

Abanindranath Tagore, the nephew of Rabindranath Tagore, was born on 7th August 1871.

He was one of the most prominent artists of the Bengal school of painting, along with being the first major supporter of swadeshi values in the Indian art.