These statements are about the sculpture Triumph of Labour and the painting Haldi Grinder. Which of the following statements are correct?
(A) In Triumph of Labour, Debi Prasad Roy Chowdhury dwelt on the workers’ strong musculature, bones and veins.
(B) Triumph of Labour is placed on a low pedestal, making viewers feel part of the same space.
(C) In Haldi Grinder, the shapes of the figures are created by outline and not by colour contrast.
(D) Amrita Sher-Gil painted Haldi Grinder when she was seeking inspiration from India’s idyllic rural scene.
Choose the correct answer from the options given below:
Answer & explanation
Correct answer: option 2
The correct answer is Option (2) → (A) and (D) only
A. In Triumph of Labour, Debi Prasad Roy Chowdhury dwelt on the strong musculature of the workers, revealing their bones and veins. — Correct. He showed the extreme physical effort of moving a massive rock.
B. Triumph of Labour is placed on a low pedestal, making viewers feel part of the same space. — Incorrect. It stands on a high pedestal, in place of portraits of kings or British dignitaries. The low pedestal belongs to Ramkinker Baij’s Santhal Family.
C. In Haldi Grinder, the shapes of the figures are created by outline and not by colour contrast. — Incorrect. It is the other way round: Sher-Gil created the shapes by colour contrast and not outline.
D. Amrita Sher-Gil painted Haldi Grinder when she was seeking inspiration from India’s idyllic rural scene. — Correct. She painted it in 1940, during this phase.
NCERT (2026-27): “Triumph of Labour This is an open air large-scale sculpture in bronze made by Debi Prasad Roy Chowdhury (1899–1975). … Chowdhury loved to dwell on the strong musculature of his workers, revealing their bones, veins, flesh, etc. … The image of group labour is placed on a high pedestal, thereby, replacing the notion of portraits of kings or British dignitaries.” “Haldi Grinder Amrita Sher-Gil painted Haldi Grinder in 1940. This was the time when she was seeking inspiration from India’s idyllic rural scene. … This is evident in the way she has placed bright colour patches close to each other and created shapes of figures by colour contrast and not outline.” |