Inspired by the European Cubist movement, this style involved breaking objects into parts, analysing them and reassembling them in abstract forms. Artists aimed to balance line and colour while depicting multiple perspectives.
M.F. Husain was a major Indian cubist artist. His series Personification of Romance frequently used horses as motifs to express movement and dynamism.
Raja Ravi Verma is regarded as one of India’s greatest painters and the pioneer of modern Indian art due to his synthesis of Indian themes with Western techniques. Hailing from Kerala, he earned the title “Raphael of the East” for his lifelike paintings and mastery of oil painting.
His famous works include Lady in the Moonlight, Mother India, and scenes from the Ramayana such as Ravana Kidnapping Sita. His life inspired the film Rang Rasiya.
Bazaar paintings were also influenced by European contact but differed from Company paintings. Instead of blending Indian and European styles, they primarily adopted Greco-Roman artistic conventions. Artists often copied Greek and Roman statues.
This school flourished mainly in Bengal and Bihar. Subjects included Indian bazaars set against European backgrounds and depictions of Indian courtesans performing before British officials. While religious themes were painted, traditional Indian iconographic features like multiple arms or elephant heads were avoided to suit European aesthetic norms.
During the colonial period, a hybrid style known as Company Painting emerged, combining Indian traditions with European techniques. British officials employed Indian painters trained in Mughal and Rajput styles, who adapted their art to European tastes.
These paintings are characterised by the use of watercolours, linear perspective, shading and realism. The style originated in centres such as Kolkata, Chennai, Delhi, Patna, Varanasi and Thanjavur. Prominent patrons included Lord Impey and Marquess Wellesley. Famous painters were Sewak Ram, Ishwari Prasad and Ghulam Ali Khan. The genre remained prevalent till the 20th century.
Mysore paintings were patronised by the rulers of the Mysore kingdom and continued even during the British period. The primary theme is the depiction of Hindu gods and goddesses. These paintings typically contain two or more figures, with one dominant figure larger in size and richer in colour.
A distinctive feature is the use of “gesso paste,” made from zinc oxide and Arabic gum, which gives a luminous background. Muted colours are then applied to balance the sheen, making Mysore paintings visually elegant and refined.
The Thanjavur or Tanjore School is famous for its distinctive decorative style of painting. It flourished under the patronage of the Maratha rulers during the 18th century. These paintings are unique as they are mostly created on glass and wooden boards instead of cloth and vellum, which were preferred in North India. A striking feature is the use of brilliant colour schemes and the liberal application of gold leaf.
Gemstones and cut glass pieces were used as embellishments to create larger-than-life images. Most paintings depict Lord Krishna in various poses and episodes from his life. The art reached its zenith under the patronage of Sarfoji Maharaj, a great patron of arts. Although still practiced today, artists have expanded themes to include birds, animals, landscapes and buildings.
The Marwar School is one of the most extensive schools of Rajasthani painting, encompassing Jodhpur and Bikaner, ruled by the Rathods, and Jaisalmer, ruled by the Bhatis. Like Bikaner, Jodhpur was a desert kingdom that prospered through close ties with the Mughal Empire. In the paintings of the 15th and 16th centuries, both men and women are depicted wearing colourful attire.
During the early period, Mughal artistic patterns were followed, but after the 18th century, Rajput elements became more prominent. This later phase saw an emphasis on linear rhythm combined with bright colours. The Jodhpur atelier produced many outstanding works, particularly during and after the reign of Man Singh (1803–1843). He commissioned extensive illustrated series such as the Shiva Purana, Natacharitra, Durgacharitra, and the Panchatantra.