Arrange the folowing artwork in the chronological order of their creation:

(A) Woman With Child
(B) Tiller Of The Soil
(C) Journey’s End
(D) City In The Night

C, D, B, A

The correct answer is Option 4-  C, D, B, A

Journey's End: Made by Abanindranath Tagore (1871–1951) in 1913, this painting is in watercolour. Abanindranath Tagore was seen as a father figure of nationalist and modernism of art in India. He revived certain aspects of Indian and oriental traditions of paintings in terms of themes, style and techniques, and invented the wash painting technique. The wash technique yields a soft, misty and impressionistic landscape. This quality of hazy and atmospheric effects of the wash are utilised to be suggestive or evocative of an end of a life. In this painting, a collapsed camel is shown in red background of dusk and in that sense it personifies the end of a journey through the end of a day. Abanindranath tried to capture the portrait and narration with the help of symbolic aesthetics on one hand and literary allusions on the other. The physical features of the camel rendered appropriately in fine lines and delicate tones, and its sensory texture leads us to the meaning of the painting.

City In The Night: This is a watercolour painting made by Gaganendranath Tagore (1869 –1938) in 1922. He was one of the earlier Indian painters, who made use of language and syntax of Cubism to render his ideas. The inner experiences of turbulence are externalised through a blend of allegorical and formal, transforming the static geometry of Analytical Cubism into an expressive apparatus. He softened Cubism’s formal geometry with a seductive profile, shadow or outline of human form. He visualised the mysterious world of his imaginary cities like Dwarka (Lord Krishna’s legendary abode) or Swarnapuri (The Golden City) through multiple viewpoints, multi-faceted shapes and jagged edges of Cubism. He painted an interplay of diamond-shaped planes and prismatic colours, resulting in fragmented luminosity to render the mountain ranges of the city. Zigzag planes together are able to create a tight formal structure of the painting. The painting is mysteriously illuminated by artificial light, one of the features of theatre.

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.

Woman with Child: This is a gouache painting on paper made by Jamini Roy (1887–1972) in 1940. He was called the father of the folk renaissance in India, who created an alternative vision of modern Indian identity. In the mid –1920s, he travelled to the countryside of Bengal to collect folk paintings (pats) and learn from folk artisans. He wanted to learn from the expressive power of their lines. In this painting, a mother and her child are rendered with bold simplifications and thick outlines with sweeping brush strokes. The painting exudes a crude vigour hitherto unknown in Indian art. Figures are coloured in dull yellow and brick-red background, emulating the terracotta relief of his home village in Bankura. The two-dimensional nature of the painting is derived from pat paintings and his search for simplicity and pure form is visible. Roy borrowed volume, rhythm, decorative clarity and instrumentality of the pat in his artworks. 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.