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86 A nIntroduction tndia nArt —PartII Raja Ravi Varma Thisstyledeclinedwiththeentryofphotography inIndiainthemid–nineteenthcenturyascamera offered a better way of documentation. What, However, flourished in the art schools set up by the British was the academic style of oil painting that used a European medium to depict Indian subject matter. The most successful examples of this type of painting were found away from these art schools. They are best seen in the works produced by self-taught artist, Raja Ravi Varma of the Travancore Court in Kerala. By imitating copies of European paintings popular in Indian palaces, he mastered the style of academic realism and used it to depict scenes from popular epics like the Ramayana and Mahabharata. They became so popular that many of his paintings were copied as oleographs Raja Ravi Varma, and were sold in market. They even entered people’s homes as Krishna as envoy, calendar images. With the rise of nationalism in India by the 1906. NGMA, New Delhi, India end of the nineteenth century, this academic style embraced by Raja Ravi Varma came to be looked down upon as foreign and too western to show Indian myths and history. It is amidst such nationalist thinking that the Bengal School of Art emerged in the first decade of the twentieth century. The Bengal School The term ‘Bengal School of Art’ is not fully accurate. It is true that the first move to create a modern, nationalist school happened in Bengal but it was not restricted to this region alone. It was an art movement and a style of painting that originated in Calcutta, the centre of British power, but later influenced many artists in different parts of the country, including Shantiniketan, where India’s first national art school was founded. It was associated with the nationalist movement (Swadeshi) and spearheaded by Abanindranath Tagore (1871–1951). Abanindranath enjoyed the support of British administrator and principal of the Calcutta School of Art, E. B. Havell (1861–1934). Both Abanindranath and Havell were critical of colonial Art Schools and the manner in which European taste in art was being imposed on Indians. They firmly believed in creating a new type of painting that Reprint 2026-27