Match List - I with List - II.

Choose the correct answer from the options given below:

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

The correct answer is Option (2) → (A)-(III), (B)-(IV), (C)-(II), (D)-(I)

Explanation:

Radhika: This is a wash and tempera painting made on paper by Abdul Rehman Chughtai (1899–1975). In this painting, Radhika is portrayed walking away from a lighted lamp in a gloomy background as if in a state of trance or remorse. The subject is based on Hindu mythology. He also painted characters from legends, folklore and history of the Indo-Islamic, Rajput and Mughal world. The light and shade of the background represent the finest heights of simplification. Chughtai had stylistic affinities with renowned Chinese and Japanese masters. The character is drawn gracefully, with a lyrical quality of calligraphy in every line. It is as if a poem finds visual form. Other works, which carry these poetic qualities, are Gloomy Radhika, Omar Khayyam, Dream, Hiraman Tota, Lady under a Tree, Musician Lady, Man behind a Tomb, Lady beside a Grave and Lady lighting a Lamp.

Rasa-Lila: This is a watercolour painting in wash technique portraying the divine life of Sri Krishna made by Kshitindranath Majumdar (1891–1975). He was one of the early students of Abanindranath Tagore, who carried forward the wash tradition with some deviations. In this painting, Krishna is dancing with Radha and sakhis, and the background of trees creates a simple village atmosphere as illustrated in the Bhagvata Purana and Gita Govinda. Figures and their cloths are drawn with simple, flowing, delicate lines. The sublime moods of characters are captured well. Krishna and gopis are drawn with same proportion. Thus, humans and God are brought on the same level.

Tiller of the Soil: This is one of the panels made by Nandalal Bose in 1938 for the Haripura Congress. In this panel, a farmer is shown ploughing a field— the daily activity of a common man and in a village. To capture the essence of village life in his Haripura panels, Bose made pen-and-ink brush studies of local villagers. He used thick tempera in a bold cursory style and broad brushwork. This technique and style was reminiscent of the folk art practice of patuas or scroll painters.

To please their new patrons, they had to adapt their traditional way of painting to document the world around them. This meant that they had to rely more on close observation, a striking feature of the European art, rather than memory and rule books, as seen in traditional art. It is this mixture of traditional and European style of painting that came to be known as the Company School of Painting. This style was not only popular among the British in India but even in Britain, where albums, consisting a set of paintings were much in demand.