Artists named in the story of modern Indian art each had a distinct approach. Match the artists in List-I with the features of their work in List-II.
| List-I (Artist) | List-II (Feature of work) |
|---|---|
| A. F. N. Souza | I. Script and floor-decoration motifs |
| B. Laxma Goud | II. African masks leading to Cubism |
| C. Picasso | III. Nudes with exaggerated proportions |
| D. K. C. S. Paniker | IV. Glass painting, terracotta and bronze |
Choose the correct answer from the options given below:
Answer & explanation
Correct answer: option 4
The correct answer is Option (4) → A-III, B-IV, C-II, D-I
| List-I | List-II | Reason |
|---|---|---|
| (A) F. N. Souza | (III) Women painted as nudes with exaggerated proportions | Souza’s experimental works focused mainly on women, painted as nudes with exaggerated proportions, breaking standard notions of beauty. |
| (B) Laxma Goud | (IV) Glass painting, terracotta and bronze | Goud tries to erase the line between major and minor arts. This helped him work in glass painting, terracotta and bronze. |
| (C) Picasso | (II) Bold forms found in African masks, leading to Cubism | Picasso arrived at Cubism by learning from the bold forms of African masks. |
| (D) K. C. S. Paniker | (I) Motifs from Tamil and Sanskrit scripts and floor decorations | Paniker took motifs from Tamil and Sanskrit scripts, floor decorations and rural crafts to show the long history of abstraction in India. |
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): “The Progressive Artists’ Group of Bombay and the Multifaceted Indian Art …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. However, his experimental works were focused mainly on women, whom he painted as nudes, exaggerating their proportions and breaking the standard notions of beauty.” “Rural South Indian Man–Woman This is an etching print on paper made by Laxma Goud (1940...) in 2017. …He tries to erase sharp demarcations between major and minor arts, thus, giving it linguistic breath. This has helped him straddle various mediums, such as glass painting, terracotta and bronze.…” “Introduction to Modernism in India …If rural community was important for Benode Behari Mukherjee and Ramkinker Baij, Jamini Roy, too, made his art relevant to this context. …He noticed that the rural, folk art in Bengal had much in common with how modern European masters like Picasso and Paul Klee painted. After all, Picasso had arrived at Cubism by learning from the use of bold forms found in African masks.…” “Abstraction – A New Trend …In South India, K. C. S. Paniker, who later went on to establish Cholamandalam, an artist village near Madras, was a pioneer in abstraction. In fact, he showed by imbibing artistic motifs from Tamil and Sanskrit scripts, floor decorations and rural crafts that abstraction has a long history in India.” |