Which of the following is True for the painting title of "Relief of Lucknow".

(A) British Heros stand on the ground that is well lit in the centre.
(B) At the centre of the canvas are English women and children huddled in a circle.
(C) The dead and injured in foreground are testimony to the suffering.
(D) In the background, British rescue forces arrive as saviours.

Choose the correct answer from the options given below:

(A), (C) only

The correct answer is Option (2) → (A), (C) only

The correct answer, (2) (A), (C) only, reflects the accurate details about the painting titled "Relief of Lucknow."

British pictures offer a variety of images that were meant to provoke a range of different emotions and reactions. Some of them commemorate the British heroes who saved the English and repressed the rebels. “Relief of Lucknow”, painted by Thomas Jones Barker in 1859, is an example of this type. When the rebel forces besieged Lucknow, Henry Lawrence, the Commissioner of Lucknow, collected the Christian population and took refuge in the heavily fortified Residency. Lawrence was killed but the Residency continued to be defended under the command of Colonel Inglis. On 25 September James Outram and Henry Havelock arrived, cut through the rebel forces, and reinforced the British garrisons. Twenty days later Colin Campbell, who was appointed as the new Commander of British forces in India, came with his forces and rescued the besieged British garrison. In British accounts the siege of Lucknow became a story of survival, heroic resistance and the ultimate triumph of British power.

Barker’s painting celebrates the moment of Campbell’s entry. At the centre of the canvas are the British heroes – Campbell, Outram and Havelock. The gestures of the hands of those around lead the spectator’s eyes towards the centre. The heroes stand on a ground that is well lit, with shadows in the foreground and the damaged Residency in the background. The dead and injured in the foreground are testimony to the suffering during the siege, while the triumphant figures of horses in the middle ground emphasise the fact that British power and control had been re-established. To the British public such paintings were reassuring. They created a sense that the time of trouble was past and the rebellion was over; the British were the victors.