Match the person in  List- I with the description which suits the most in List- II:

Choose the correct answer from the options given below:

(1) (A)-(II), (B)-(IV), (C)-(I), (D)-(III)
(2) (A)-(IV), (B)-III), (C)-(II), (D)-(I)
(3) (A)-(II), (B)-(I), (C)-(IV), (D)-(III)
(4) (A)-(IV), (B)-(I), (C)-(II), (D)-(III)

1

The correct answer is Option 1-1

(1)- (A)-(II), (B)-(IV), (C)-(I), (D)-(III)

The divide between anglicists and orientalists was not based on race. Take the case of the Bengali intellectual, Benoy Sarkar, who sided with the anglicists and considered modernism that was growing in Europe as authentic in an article, ‘The Futurism of Young Asia’. For him, the Oriental Bengal School of Art was regressive and anti-modern. On the other hand, it was E. B. Havell, an Englishman, who was in favour of return to native art to create a true modern Indian art. It is in this context that we have to view his collaboration with Abanindranath Tagore. Amrita Sher-Gil is a perfect example of the meeting of both these points of view. She used the kind of style that the Bauhaus exhibition showed to depict Indian scenes.

The most successful examples of Academic style of oil painting were found away from these art schools. They are best seen in the works produced by self-taught artist, Raja Ravi Varma of the Travancore Court in Kerala. By imitating copies of European paintings popular in Indian palaces, he mastered the style of academic realism and used it to depict scenes from popular epics like the Ramayana and Mahabharata.