The correct answer is Option 4- A-IV, B-I, C-II, D-III
Haldi Grinder is a painting. 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. She has placed bright colour patches close to each other and created shapes of figures by colour contrast and not outline. Such a style of painting reminds us of, as for instance, the Basohli paintings from north India. The women and trees are painted as flat shapes. Sher-Gil is not interested in creating any depth in the landscape and prefers a semi-abstract pattern as a modern artist.
Woman with Child: This is a gouache painting on paper made by Jamini Roy (1887–1972) in 1940. He was called the father of the folk renaissance in India, who created an alternative vision of modern Indian identity. In the mid –1920s, he travelled to the countryside of Bengal to collect folk paintings (pats) and learn from folk artisans. He wanted to learn from the expressive power of their lines. In this painting, a mother and her child are rendered with bold simplifications and thick outlines with sweeping brush strokes. The painting exudes a crude vigour hitherto unknown in Indian art. Figures are coloured in dull yellow and brick-red background, emulating the terracotta relief of his home village in Bankura. The two-dimensional nature of the painting is derived from pat paintings and his search for simplicity and pure form is visible. Roy borrowed volume, rhythm, decorative clarity and instrumentality of the pat in his artworks. To achieve and learn the purity of the pat, he first made many monochrome brush drawings, and then, gradually, moved to basic seven colours applied with tempera.
Triumph of Labour- This is an open-air large-scale sculpture in bronze made by Debi Prasad Roy Chowdhury (1899–1975). It was installed at Marina Beach, Chennai, on the eve of the Republic Day in 1959. It shows four men trying to move a rock, rendering the importance and contribution of human labour in nation building. Unconquerable men are wrestling with nature, doggedly, indeterminately and powerfully. It is an image of labour against the elements of nature, a well-known romantic subject of the nineteenth century. Chowdhury loved to dwell on the strong musculature of his workers, revealing their bones, veins, flesh, etc. He portrayed the extreme physical effort of loosening a massive, immovable rock. Human figures are installed in a way that create a curiosity in us as viewers. It attracts the viewers to see it from all sides. The image of group labour is placed on a high pedestal, thereby, replacing the notion of portraits of kings or British dignitaries.
Children- This is a graphic print on paper done with monochromatic etching with aquatint made by Somnath Hore (1921–2006) in 1958. The experience of the Bengal Famine of 1943, left a lasting impression on him. His early sketches and drawings were spot and life drawings of hapless victims of the famine, suffering and dying peasants, sick and infirm destitute, and portraits of men, women, children and animals. These line drawings, which followed representational contours and tonal devices, were seldom adopted. In this etching, images of children were taken from the experience of the famine of 1943, which was etched in his memory. This is a close knit composition with five standing figures, having no background, perspective or surrounding situation as the figures are talking to themselves. The figures are linear, each with a skeletal torso of a huge malaria spleen and ribcage for the thorax. Supporting a huge skull, with a small face, the whole body is seen resting on two stick-like legs. Strong definitional lines of straight linear gestures, which etched each rib of the thorax and each cheekbone, appears as deep gashing wounds. The bone structure just beneath the skin renders the effect of malnutrition on the people. It creates narrative quality in the picture without taking recourse to placing the figures in a situation of supporting visual data, following reductionist and simplification method. These children represent the most vulnerable section of the society. Somanth Hore’s some other artworks include Peasants’ Meeting, Wounded Animal, The Child, Mother with Child, Mourners and the Unclad Beggar Family.
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