Artists of the Bengal School and its time worked in different ways. M…

Artists of the Bengal School and its time worked in different ways. Match the practices in List-I with the artists in List-II.

List-I (Practice)	List-II (Artist)
A. Pen-and-ink brush studies of local villagers	I. Jamini Roy
B. Monochrome brush drawings to learn the purity of the pat	II. Kshitindranath Majumdar
C. A series of 45 paintings based on The Arabian Nights	III. Nandalal Bose
D. Rustic, thin, slender figures with modest gestures	IV. Abanindranath Tagore

Choose the correct answer from the options given below:

Answer & explanation

Correct answer: option 3

The correct answer is Option (3) → A-III, B-I, C-IV, D-II

List-I	List-II	Reason
(A) Pen-and-ink brush studies of local villagers	(III) Nandalal Bose	Bose made these studies to capture the essence of village life in his Haripura panels.
(B) Monochrome brush drawings to learn the purity of the pat	(I) Jamini Roy	Roy first made these drawings, then moved to basic seven colours applied with tempera.
(C) A series of 45 paintings based on The Arabian Nights	(IV) Abanindranath Tagore	Besides Journey’s End, Abanindranath painted this series.
(D) Rustic, thin, slender figures with modest gestures	(II) Kshitindranath Majumdar	These are the stylistic features of Majumdar, an early student of Abanindranath who carried forward the wash tradition.

NCERT (2026-27): “Tiller of the Soil …To capture the essence of village life in his Haripura panels, Bose made pen-and-ink brush studies of local villagers.”

“Woman with Child This is a gouache painting on paper made by Jamini Roy (1887–1972) in 1940. …To achieve and learn the purity of the pat, he first made many monochrome brush drawings, and then, gradually, moved to basic seven colours applied with tempera.”

“Journey’s End …Abanindranath has also painted The Forest, Coming of Night, Mountain Traveller, Queen of the Forest and a series of 45 paintings based on The Arabian Nights.”

“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. Rustic, thin, slender figures, modest gestures, idyllic settings and delicate watercolours express his stylistic features.”