Modern Indian artists drew their ideas from very different sources. Match the artists in List-I with the idea or aim of each in List-II.
| List-I | List-II |
|---|---|
| A. Amrita Sher-Gil | I. Cosmic union of male and female |
| B. G. R. Santosh | II. Modern art as new freedom |
| C. Francis Newton Souza | III. Inspired by India’s rural scene |
| D. M. F. Husain | IV. Expressionist strokes, bright Indian colours |
Choose the correct answer from the options given below:
Answer & explanation
Correct answer: option 3
The correct answer is Option (3) → A-III, B-I, C-II, D-IV
| List-I | List-II | Reason |
|---|---|---|
| (A) Amrita Sher-Gil | (III) Inspired by India’s rural scene | Sher-Gil painted Haldi Grinder in 1940, when she looked to rural India for her themes. |
| (B) G. R. Santosh | (I) Cosmic union of male and female | Santosh was one of the Neo-Tantric artists. His work recalls purusha and prakriti of Tantric philosophy. |
| (C) Francis Newton Souza | (II) Modern art as new freedom | Souza, leader of The Progressives, wanted to question the conventions of art schools. |
| (D) M. F. Husain | (IV) Expressionist strokes, bright Indian colours | Husain wanted to make modern painting understandable in the Indian context. |
Note: This topic was not named in the CUET 2026 syllabus, but it was part of the NCERT chapter. In 2025 and 2026, NTA also asked questions on topics in NCERT that the CUET syllabus did not name. So our mocks have questions from every part of the NCERT chapter, to give you enough practice. Read the whole chapter, not only the sub-topics named in the syllabus.
NCERT (2026-27): “Haldi Grinder Amrita Sher-Gil painted Haldi Grinder in 1940. This was the time when she was seeking inspiration from India’s idyllic rural scene. Such a scene, depicting Indian women busy in a traditional activity of grinding dry turmeric, had to be painted in Indian style.…” “Abstraction – A New Trend …In the 1960s, Biren De and G. R. Santosh in Delhi and K. C. S. Paniker in Madras moved in this direction when they turned to the past and local artistic traditions to create a unique Indian abstract art. … G. R. Santosh created a visual sense of cosmic union of male and female energy, reminding us of purusha and prakriti of the Tantric philosophy.…” “The Progressive Artists’ Group of Bombay and the Multifaceted Indian Art …Francis Newton Souza was the outspoken leader of the group, which included M. F. Husain, K. H. Ara, S. A. Bakre, H. A. Gade and S. H. Raza. Souza wanted to question the conventions that had prevailed in art schools. For him, modern art stood for a new freedom that could challenge the traditional sense of beauty and morality. … M. F. Husain, on the other hand, wanted to make the modern style of painting understandable in Indian context. For example, he would paint using the western expressionist brush strokes with bright Indian colours.…” |