VISUAL ARTS
VISUAL ARTS SYLLABUS- (Drawing & Painting / Sculpture Graphics / Applied Art / History of Art)
(These syllabus may change from time to time. Please check with the relevant Public Service Commission websites for any changes in the syllabus)
Paper II & Paper III (Part A) Syllabus [Core Group]
Unit — I
General characteristics of Visual art / Fundamentals of visual art : Space, form, size, shape, line, colour, texture, tonal values, perspective, design and aesthetic organization of visual elements in art object (composition). The uses of two and three dimensions in visual art. Tactile quality in art. Environment and art. Perceptual and conceptual aspects in art.
Unit — II
Interrelationship of various arts : Rhythm, structure, use of space, visual properties, materials, techniques (traditional and modern), ideas, themes (narrative and non – narrative) conceptual, abstract elements between performing, cinematic, literary and plastic art.
Unit — III
Traditional and Modem mediums and materials in making visual arts: Painting, sculpture, print – making, mural, graphic design and multimedia art. Inventions, adoptations and development of these mediums and materials from the pre – historic period to present-day all over the world.
Unit — IV
Traditional and Modem techniques, processes and procedures, used in making painting, sculpture, print – making, mural, graphic design and multimedia art, such as modeling, carving, building, casting, different way of handling of colour pigment (like impasto, glazing, burnishing, drip), etching, relief, surface printing, fresco buono. fresco secco, etc. Printing processes including computer graphic, etc.
Unit — V
Relevance of the study of the history of world art (including history of advertising and marketing) for the students of Visual Arts in general and Art History as an area of specialization.
Unit — VI
Relevance of the study of aesthetic and critical theories of art for the students of Visual Arts (including students of Applied Arts) and students of Art History and Art Criticism specialization.
Unit — VII
Study of landmark phases and artists in Western Art History from Pre – Historic times to Contemporary phase from the point of view of ideology, materials, techniques, style, themes, formal and stylistic development.
Unit — VIII
Study of various phases of Indian Art History from Pre – Historic times to 18th century (including the history of advertisement) from the point of view of general formal and stylistic features and development of ideology, materials technique and themes.
Unit — IX
Development of modernity in 19th and 20th century. Indian art (including Applied Arts) with special reference to various art movements, medium, styles, individual artist’s contributions in different regions of the country. The development of art education from the British Art Schools till the contemporary period.
Unit — X
The significance of the study of Tribal, Folk and Popular arts and craft practices from all over the world for the modem artists ( including Applied Arts ) from the point of form, technique, content and concepts.
Paper III (Part B) Syllabus[Elective / Optional]
Elective — I: Art History
1. Indian Sculpture
Formal and stylistic aspects of sculpture in Indus Valley of Mauryan Sunga, Satvahana, Kushana (Mathura and Gandhara), Gupta (Buddhist, Brahmanical and Jain), Chalukya, Gurjara Pratihara, Pallava, Chola, Rashtrakuta, Hoysala, Kakatiya, Pala-Sena, Orissan, Solanki and Paramara periods.
2. Indian Architecture
Formal and stylistic aspects of architecture in Indus Valley of stupas (Bharhut, Sanchi, Amaravati, Samath) of cave temples, (Bhaja, Karle, Ajanta, Nasik, Lomas Rishi, Kanheri, etc.), Gupta (Udayagiri, Deogarh, Nachna, etc.), Ghalukya (Badami, Aihole, Pattadakal, etc.), Pallava (Mahabalipuram, Kanchipuram, etc.), Rashtrakuta (Ellora), Guijara Pratihara, Saindhava — Maitraka, Chandela (Khajuraho), Orissa (Bhubaneswar, Konarak), Chola (Tanjore and Gangaikonda Cholapuram, Darasuram, etc.), Hoysala (Belur, Halibid, etc.), Kakatiya, Kalayan, Chalukvas. Solanki (Modhera. Rani Ki vav etc.), Paramara, Nayuka and Vijayanagar (Hampi Lepakshi). Islamic architecture; Sultanate and Mughal; Mandu, Delhi, Agra, Fathepur Sikri.
3. Indian Painting
Formal and stylistic aspects of pre – historic, Ajanta, Bagh and later mural tradition, Manuscript painting (Eastern Indian and Western Indian), Sultanate (Mandu) Chourapanchasika style and other pre – Mughal schools, Mughal (Akbar to Shahjahan), Rajasthani (Mewar, Bundi, Kotah, Bikaneer, Jaipur, Kishangarh, etc.), Malwa, Pahari (Basholi, Guler, Kangra) and Deccani (Ahmednagar, Bijapur and Golkonda) schools.
4. Indian Iconography
Antiquity of image worship, development of the cult of Vishnu, Shiva and Shakti and various forms of their iconography, Sapta – matrika, Lakshmi, Surya, Yaksha, Ganesha and Kartikeya. Hindu temple and iconography (Ashta) (Dikpalas, River Goddesses, etc.), Buddhist narratives (Jataka tales and life of Buddha) origin and development of Buddha image and Bodhisatvas (Avalokiteshwara, Maitreya, Ashtamahabhayatarana, Avalokiteswara, Manjushri Tara and Kubera / Panchika. Iconography of Tirthankaras (Rishabhanatha, Mahavira, Parshvanatha, Neminatha), Bahubali, Jaina Yaksha and Yakshi, Ambika, syncretic images, etc. Narratives in Medieval painting (Gitagovinda, Ramayana, Laurchanda, Ragamala, Rasamanjari, Kalpasutra and Kalakachaiya Katha, etc.).
5. Aesthetics and Art Critical History
General principles of Indian art, art and beauty, principles of image making ( iconometry and other canons ), six limbs of Indian painting (shadanga) and six Chinese canons of painting, theories of Rasa, Dhvani, Alankara, Auchitya and Riti, and their relevance in understanding art making and viewing. Interrelationship of visual and performing art. Classification of painting in Chitrasutra. Concepts of Kshyavridhi, Guna – dosha, Sadrishya, Vartana, Nimnonata, etc. Visible and invisible aspects of art (Drishyam / Adrishyam), Rekha (Line) and Linear rhythm (Chanda) compositional aspects of art, perspective, form and content. Textual sources (Vishnu dharmottara, Brihatsamhita and other Silpasastra texts). Kashmiri aestheticians.
Distinctions and overlap between the scope of Art History, Art Criticism, and Aesthetic theories. Interrelationship between Art History, Anthropology, Archaeology, Cultural History and Philology. Development of Art History as a discipline. Connoiseurship and catalogue raissone. Development of formalism (Wolfflin, Reigl, Roger Fry, Greenberg), Iconology (Gombrich and Panofsky), Visual perception (Rudolf Amheim) and New Art History (Bryson, Hal Foster). Ananda Coomaraswamy and Stella Kramrisch and their relevance in the Indian Art Historical Studies.
Western approaches to art and aesthetics: Plato, Aristotle, Alberti, Vasari, Bellori, Reynolds, Diderot, Wincklemann, Croce, Tolstoy, etc. Writing by artists and manifestos of modem art movements. Theory of Avant – Garde. Implication of theories of Semiotics, Structuralism, Post – structuralism, Post – modernism and Feminism on Art thinking and writing.
6. European Art (Landmarks of Architecture Sculpture and Painting)
Pre – historic art (France and Spain), Cretan, Greek, Roman, Etruscan, Early Christian, Byzantine, Gothic, Renaissance, Mannerist, Baroque, Neo – Classicism, Romanticism, Realism,. Impressionism, Post-Impressionism, Symbolism, Fauvism, Cubism, Expressionism and different abstract trends. Futurism, Dadaism, Surrealism, Abstract Expressionism, Op, Pop, Mininimal, Neo – figuration and various art developments in Post-modern period (Italian Trans – avantgarde, German Neo – expressionism, Happening, Installation, Feminist and Gay art.
7. Art and Architecture of Ancient Near East
The art of Egyptian, Mesopotamian, Sumerian Akkadian, Assyrian, Achaemanid, Minoan and Sassanian cultures.
8. Art and Architecture of the Orient
The art Far Eastern (Chinese and Japanese), Islamic, Central Asia, Nepal, Tibet. Sri Lanka, Cambodia, Java, Siam and Burma.
9. Modern Indian Art
Company School, Bazar Painting, British Art Schools, Kalighat Painting, Raja Ravi Varma and followers. Neo – Bengal School (‘Revivalism’ and early modernists) : Abanindranath Tagore and disciples, Nandalal Bose, Benode Behari Mukheijee, Ramkinkar Baij, Rabindranath Tagore, Gaganendranath Tagore, Jamini Roy and others. Role of Santiniketan in art education.
Academic / Professional sculptors and painters; Mahatre, Talim, D.P. Roy Choudhuri, Dhurandar, Hemen Majumdar, Thakur Singh, etc. Early modernists : Amrita Shergil, Karmarkar, George Keyt. Art in 1940’s and 50’s : Bengal famine and artists (Somnath Hore, Chittaprasad, Zainul Abedin, Gobardhan Ash, Sudhir Khastgir), Progressive art movements in Calcutta, Madras, Bombay and Delhi. International Modernism and artists : F.N. Souza, Pradosh Dasgupta, K.C.S. Panikkar, B.C. Sanyal, Dinkar Kaushik, Nirode Majumdar, Paritosh Sen, M.F. Husain, Akbar Padamsee, Ramkumar and others. Independent Artists : N.S. Bendre, K.K. Hebbar, Shankho Choudhuri, Krishna Reddy, Dhanraj Bhagat, Y.K. Shukla, Piloo Poochkhanwala, V.S. Gaitonde. Santhanraj, Davierwala and others.
Art in 1960’s and 70’s Indigenist trends in painting, sculpture, mural and print – making; K. G. Subramanyam, K. C. S. Panikkar (Cholamandal artists village), Reddappa Naidu, S.B. Palsikar, Janaki Ram, Meera Mukherjee, Jyoti Bhatt, J. Swaminathan, Neo-Tantric art, etc. Figurative-Narrative trend since 1960’s; Bikash Bhattacharjee, Ganesh Pyne, A. Ramachandran, R.B. Bhaskaran, Lakshma Goud, Jogan Choudhuri, Bhupen Khakhar, Anjole Ela Menon, Arpita Singh, Gogi Saroj Pal, Arpana Kaur, Vivan Sundaram and others. Trend of Abstraction since 1960’s : Raghav Kaneria, Jairam Patel, P. Barwe, Ram Kumar, L. Munnuswamy, P. V. Kolte, Jagmohar Chopra, Balbir Singh Katt, Nagji Patel.
Development of Installation, Multimedia, Performative, Happening Art : Nalini Malatni, Ved Nayar, Vivan Sundaram and others.
Tribal, Folk and Popular Art (Including Design and Functional Art)
African, Oceanic, North-West Coast American, Mexican, Indian, South – East Asian Art.
India: Pata painting (Rajasthan, Bengal, Orissa), Madhubani, Warii, Pithoro painting. Dokra bronzes, terracotta horses (Gujarat, U.P., Bengal, M.P., Tamil Nadu), wood carving (Kondappalli, Karnataka (Bhuta), Bengal, M.P. ), Leather Puppets (A.P., Karnataka). Indian traditional and modem design and functional arts: Textiles — Benaras, Kanchipuram. Gujarat Brocade, Baluchari, Dacca Malmal, Paithaini, Katki and textiles of North – Eastern States. Tie and Die fabrics, embroideries ( Phulkari, Chamba Rumal, Kantha ), Metalware (Bidari, rapousse, enamelling), jade, beads, jewellery and other.
Elective — II: Drawing and Painting
Knowledge of principal elements, perspective values, fundamentals of paintings. Visual principles, Form, space, illusion, image. Chronology of the development of ideas. Visual reality, conceptual reality. Tradition and the gradual development of the art of combining the elements of ideas of different visual arts specialization.
Media and materials and their use, sketching and drawing. Application of materials, oil painting — Alla Prima and old master process, glazing and scumbling, priming of canvas, different types of oil, brushing etc. Tempera and Gouache and their uses in painting in both traditional and non-traditional art. Wash method on paper and silk, Acrylic, pastel, mixed media, water colour mural and mural techniques — Fresco secco and Buono fresco, Ajanta and different modem media relief and mixed media in mural.
Collage, Encaustic Wax
Supports in Painting (Canvas, paper, wood, silk, etc.)
Types of paintings, open air paintings, portrait paintings, study of head and full length figures, male and female. Landscape paintings, patronised art. paintings under different art movements, still life, thematic, abstract, etc.
Principles of compositions, reflection of artists personal views, development of concept. Process of creative paintings. Expression of ideas under some aesthetical and philosophical views. Artistic expression during different social and structural changes. Art and Changes.
Application of techniques, colours and colour theory and the application of colour theory in art activities. Colour harmony, traditional application of colour and the application of colour with reasoning.
Colour preparation, texture, technical aspect of pigment. Sources and influences of various traditions. Study and understanding of artistic value, construction of forms, shapes, planes, volume and totality, understanding of two and three dimensional approaches and the purpose.
Relevance of the study of aesthetics in Fine Arts / Visual Arts. The early Philosophical thoughts in Indian Culture. Nature and function of works of art in society. Concepts of Rasa, Sadanga, Dhvani, Alankara, etc., in traditional art. Concept of art and beauty, idea, imagination, intuition form and content, sublime, sympathy, empathy, creativity allegory, myth. Philosophy and aesthetical views of Kant, Hegel, etc.
Pre – historic Indian Painting, Classical Indian Paintings. Mural (Ajanta, Bagh) and later Mural traditions. Manuscript Painting, Miniature Painting, Folk and Tribal Paintings.
Company school of paintings, Raja Ravi Verma, Bengal School under Abanindranath and his disciples (Kshitindra Nath Majumdar, Samarendranath Gupta, K. Venkatappa, Abdul Rahman Chughtai, Ashit Kr. Haider, Nandalal, etc.)
Nandalal and his disciples (Ramkinkar, Binod Bihari, Dhirendrakrishna Dev Varma, etc.)
Amrita Shergil, Academic Realism, Calcutta Group (Paritosh Sen, Gobardhan Ash, Nirode Majumdar, Pradosh Dasgupta, Hemanta Mishra, etc.)
Major trends in contemporary Indian Art since, 1947.
Major phases in Western Painting, Greeco – Roman, Byzantine, Gothic, Renaissance ( background of Renaissance, Humanism and the intentions and discoveries of the evolution of personal style of Early Renaissance and High Renaissance ), Baroque and Rococo ( background, conception with some important artists activities ).
Neo – classicism, Romanticism, Neo-Realism, Impressionism Post – impressionism, Cubism, Fauvism, Futurism, Dadaism, Surrealism, Abstract Art, Abstract Expressionism Op, Pop, Neo – figuration, Art in Post – modern time.
Elective — III: Applied Art
Importance of Applied Art in Visual Communication in relation to various media, Consumer and Producer.
Understanding of all the elements of an advertising design/graphic design such as typography and calligraphy (Headline, copy), photography, illustration mnemonics, logo and symbol, punch line / base line / slogan, etc.
Conventional animation (Cell animation ) and Modem animation ( Computer animation 2D and 3D), Application of computer graphics in creating special effects. Its reactions and response from viewer.
Visualization — Research sources of visualization, collection of information material and ideas, selection of USP. development of concepts and final decision of selecting the media.
Outdoor advertising — Its importance in communication. Various kinds of media of outdoor advertising with its advantage over other media. Advertising ethics and censoring in using outdoor media.
Advertising campaign — Product (package designing for the surface of container, to start with), Corporate / Government and Social awareness. Suggestion of media according to the approach towards the target audience. Name all the media available. Innovation in Media. New technologies (computer, digital printers, etc.), TV Graphics, Multimedia presentation, Web – page designing and understanding of all the softwares (pagemaker, corel draw, photoshop, free – hand, dream weaver; 3D studio, etc. ), Internet, its use in advertising products and services, net marketing.
Organization of advertising agencies : Study of advertising management, setting up studio. Role and responsibilities of a Graphic designer. Art Director, Visualizer, Creative head, service department and copywriters. Creative director / creative head and copywriter, their interaction in developing concepts. Modem studio in present scenario—computer, printers and scanners, etc.
Interaction with other arts i.e., sculptors, painters, set designers and event management agencies.
History of advertising from early civilizations. Invention of moveable types. Development of printing processes : Letterpress, off – set gravure, silk-screen, embossing, thermography, etc.
Computers and its role in creating new visual effects. Importance of market research in advertising. History of Indian advertising and different media. History of printing in India. Print media vs Electronic Media.
Future of advertising in India. Entry of Multinationals and Indian Advertising. Top grade Advertising Agencies such as HTA Lintas, Mudra, O and M, etc. and their approaches.
Colonial paintings, Raja Ravi Verma, Bengal School, Abanindranath and his disciples, Nandlal Bose, Amrita Shergil and his disciples, Academic realism, Progressive Schools, Major Trends in Contemporary Indian Art.
Major phases in Western Painting, Greeco – Roman, Byzantine, Gothic, Renaissance, Baroque and Rococo Neo – classicism, Romanticisms, Neo – realism, Impressionism, Post – impressionism, Cubism, Futurism, Dadaism, Surrealism, Abstraction, Abstract Expression Op, Pop, Neo – figuration, Art in Post – modern time.
Elective — IV: Graphic Art (Print – making)
Fundamental of Visual Arts: Line, texture, volumes, space, colour, compositions.
Definition of Graphics — Print – making
Difference with other Art Forms
Brief history of printing
Knowledge of principle elements of print – making
Surface (relief and planography)
Intaglio
Stencil
Other mediums — Computer Graphics Paper – making ( Dimensional Prints ) Colography / Colagraphy / Chinecolle / Monoprint / Unique Print.
Surface: Relief
Invention
Media – woodcut, wood engraving, woodcut ( far Eastern ), Lino – cut and Lino etching
Material — Wood and Linoleum
Tools — Chemicals — Inks — Printing Machines
Approach to design — (i) Light to dark, (ii) Reduction method ( Dark to light )
Printing Methods — (i) Single block multicolour printing, (ii) Multiblock multicolour printing
Surface: Lithography
Media: Invention Lithography, Offset Printing, Oleograph
Material and Equipments—Stone and Plate — Tools Chemical — Inks — Press — Photograph — Enlargers
Techniques: Grinding, Graining; Image making — Drawing, Photo – transfer. Litho – engraving (tools or hone pencils ), Reverse / Re – reverse technique etc. Etching, Registration, Printing (Single block multicolour and Multi – block multicolour methods).
Offset Printing:
Invention
Direct and Indirect process
Image making: Hand – drawing and Photo-transfer
Material and Equipments: Ink — Chemicals — Press
Printing Method: Direct and Indirect Pictorial and formal qualities of Litho and Offset
Intaglio
Invention
Media — Drypoint, Engraving, Mezzotint Etching, Wood Intaglio, Viscosity
Materials – Plates: Metal, Acrylic, Wood and Sunmica, etc., Chemicals – Tools – Plate – making — Image making — Manual and Photo – transfer process. Approach to design Light to dark
Dark to light Characteristics of Prints in different intaglio techniques Stencil : Handcut stencil and Silkscreen (Serigraphy) Handcut stencil — Method and materials Silkscreen (Serigraphy) — materials (screen) : Silk, Nylon and Polyurithin Tools : Squeezee, frame, exposing table, printing table Chemicals — Inks and other equipments Printing methods : Manual and Mechanical
Other Mediums
Computer Graphics:
Direct printout from printer
Indirect use (Computer – generated images made to transfer on other print – making mediums)
Paper – making (dimensional print)
Materials
Machines and tools: Beater, tray, etc.
Chemicals and colours Technique
Photograph / Colograph — materials — block – making — printing methods – Intaglio, Relief
Chinecolle — Technique
Monoprint — Different techniques
Mixed media, multimedia and others
History of printing — Asia and Europe; Manifestation and invention of different media, Printing as a communicative media — book production in 19th – 20th century, influences of advertising. Print – making atelier / workshops.
Individual artist’s contributions — Durer, Rembrandt, Hogarth, Goya, Gaugiix Degas, Lautrec, Daumiere, German Expressionists (Kathe, Kolwitz, Nolde, Heckel, Grosz, Munch, etc.), Picasso, Pop and figurative artists (Roshenburg, Lichenstein, Jim Dine), David Hockney, Krishna Reddy, Peter Dauglish, Stanley Johns.
Japanese woodcuts and Important masters of Ukiyo-E-School — Important masters as — Hokurai, Hiroshige and Utamaro Print – making in India.
Commercial print – making in mid 19th century
Print – making in Bengal in early 20th century — Battala Printing and Kalighat
Individual Artists : Raja Ravi Verma, Members of Vichitra Club, Mukul Dey, Gaganendranath Tagore, etc. Santiniketan School, Nandlal Bose, Binod Behari Mukherjee, Ramkinkar, Biswarup Bose, Ramen Chakraborty, Haren Das, Somnath Hore, Chittaprasad, Jyoti Bhatt, Kanwal Krishna, Y. K. Shukla, Vasant Parab, Jagmohan Chopra, Paramjeet Singh, Lalita Lajmi, Naina Dalai, Laxma Goud, R. B. Bhaskaran, Pallani Appan, Sanat Kar, Lalu Prasad Shaw, Amitabha Baneijee, Debraj Dakoji, Bhupen Khakar, Waman Chincolkar, Paul Koli, Dipak Banerjee, Jai Jharotia, Prayag Jha, Rini Dhumal, Anupam Sud, Jayant Parikh.
Criteria of judging good quality prints (technically and aesthetically) conventions to identify the authenticity of prints—signature, editions, Artists’ proof, etc. Various issues related to contemporary print – making (mechanical reproduction, computer graphics, influences of advertising, pop-painters, print – making atelier and workshops, etc.).
Elective — V: Sculpture
Knowledge of principle elements in the art of sculpture.
Making — Basic concepts, visual concepts, perspective know how, Fundamentals of Sculpture, Figurative and Non-Figurative Sculpture.
Media and materials : (a) Wood; different types of woods—hard and soft in fibres — black ebony to soft ( fur variety ) light coloured wood (compressed fibs). Rough and Smooth depending on grain i.e. Ebony, Sheesham, Teek, Haldu, etc.
Stones: Sculptures took centuries to develop tools and determination to carve stones. Igneous rocks are volcanic rocks give the sculpture the hardest multicoloured granites and basalts.
Sedimentary Rocks i.e., Sand-stones and lime-stones. Formed in layers over the centuries.
Limestone: Softer in cutting but textured.
Metamorphic : Sedimentary and Igneous—when heated and compressed—became harder but also translucent, sometimes and marble became V V. Popular since Greek period and Roman period and continued to produce some of the finest challenging master pieces—unique of its kind in Renaissance period of in Baroque it was pan — Excellence in use. Michelangelo’s David and Bernini’s flowing drapery and Rodin’s Kiss and later Dilwara temple in India are breathtaking examples.
Metals:
Ferrous->Iron;
Non-Ferrous-> Bronze, Gun-Metal, Brass, Aluminium, Aluminium Bronze / Brass
Properties of Each Metal
Why lead and zink are absent and increase in copper, etc., can be studied in detail? Which of the following is more suitable for outdoor conditions?
Terra – Cotta:
Different types of clays, varying in porosity too with mixture of fine and rough grog for better firing possibilities.
Earthern Ware
Stone Ware
Wax:
Ceramic and Porcelian and China. Addition of sand, flint, Ball clay, bentonite grog gives more plasticity and colour variation to work with.
Different types of kilns to be prepared for metal casting moulds and terracotta and ceramic.
For large moulds for metal above ground as well as under ground kilns are prepared. For ceremic V, high temperature arrangement has to be considered above 1000 °C.
Papier mache — paper pulp mixed with different kinds of fibres and clay bodies for interesting texturous results.
Plaster of Paris—used as pure medium and also mixed with other medium. Cement, bricks, sand and pebbles — combination of these.
Fibre glass and Resin for casting.
Welding and brazing
Light, lazer beams
Iron Rods
Bamboos and ropes
Waste materials like plastic bags, paper and any cans, etc.
Re – inforcement material, i.e., lead pipes, broad pipes, angle irons, binding wires, big and small nails, wooden stands, revolving and static.
Tools:
Carving Stones, evolved over centuries used as predetermined sequence by most sculptors an order that has evolved with the tools.
Pitcher used for hacking and chipping of bigger chunks.
Punch—point chisel flattened punch used for sand stones.
Claw—broad flat chisel used to flatten surfaces cleanly after the punch carving. Chisel term most commonly used for cutting dearly.
New era chisels have tungston tips to cope easily with hard granites.
Tools have to be tempered to be hard and soft acurately to be dealing with different kinds of stones.
Variety of hammers have to suit the tools — shapes and weight.
Wood carving tools — various kinds of saws, axes, band – saw, jigsaw, Bow-saw, circular saw, chainsaw, wood carving chisel, wood gauge are necessary.
Sand papers, etc., for surface treatment also follow, for polishing.
Technique used for using the various material mentioned earlier, in the making of the sculpture could be modelled, constructed caste or welded, Bronze
sandcasting Metals : Brass
lost wax process
Aluminium cire perdue
A hand material pattern (shape) in made, keeping in mind the feasibility of the nature, limitation of casting. Direct hollow image in created by pressing into layers of specially prepared sand with tar and jaggery, and later pouring metals into the cavity created by removing the object.
This technique preferred for flat surfaces and solid castings.
Knowledge of composition of alloys will decide the nature of runners in sand casting.
Lost Wax process—Direct wax shape building is done to create the sculpture with or without the armative. Adding Runners, and riser, sprus, on top of the surface for pouring of the metal through the funnel.
Indegenous and Italian process is used for mould making. Indegenous in the local, clay, rice husks and cowdung moulds.
Italian in the brick dust with plaster of paris & semi-fired combinations.
Types of Moulds
Waste moulds, piece moulds, and mother moulds, rubber moulds in plaster of Paris. Metal casting with more percentage of bronze is ideal for permanent outdoor placements.
Patina — the colour effect achieved by chemical reactions also seals the surfaces and preserves it.
Iron Casting:
Cast iron by sand casting
Forged iron rods by heating and beating can have exciting modelled
Effects
Terra – Cotta — Fired clay — solid shaping, hollow building by coil method — sheet beating method and wheal building
Hollow castings by using piece moulds
Pure Bees Wax, resin and parafin mixed to serve the purpose. Direct handling of wax can be cast inside waste or piece moulds for desired thickness for casting.
Papier mache—can be prepared uniformly or non-uniformly by also mixing with various other materials.
Plaster of Paris—essential for making sculpture
Direct process
Moulding
Casting of sculpture
Cement: Directly used for constructing sculptures alongwith mixing types of sand and pebbles.
Casting inside waste or piece moulds.
Ideal for outdoor
Bricks:
Used for structuring independently as well as for reinforcement. Fibre Glass Casting : For casting of shapes Translucent
Light weight is an added asset Resin Casting—transparency
Welding — Brazing — various possibilites For small and large sculptures Lenier and hollowed shapes Lights — Lazer Beams — Used for illumination As shapes
Lights juxtaposed Iron Rods : Used independently and visibly by welding As re-inforced material for strength for hidden strength Waste Materials.
Revolving tables:
Various heights, breadths Assemblage of one or more units—using same or different material Direct Shape making assemblace on computer Two D. many sides Dissecting shapes Doing calculations for convenience Sculpturesque pottery Unconventional / Design / element in Functional
Non – Functional pottery
Sculpturesque Jewellery
Semi – traditional
Modem
To match with modem dresses
Sculpturesque Industrial Designing
Event management by sculptors i.e., stage—marriage—functions.
History of Sculpture — Prehistoric, Egyptian, Greek, Hellenistic, Romanesque, Gothic, Renaissance, Neoclassical, Indian — Mohenjodaro, Indus Valley, Maury an, Shunga, Satvahanas Chalukya, Rashtrakuta, Chola, Kushan, Individualism, Modem Sculpture.
Strong impact of Western Art, Folk Art, Tribal Art, Classical Art and Historical Art on Indian / modem contemporary Sculpture.
Contemporary sculpture, the importance of form, the impact of industrialisation, science and technology. New experiments came about such as happening, installation.
Change in the aesthetics contents of sculpture, new trends in Indian sculpture Trade in the field of sculpture.
Comparative study about different arts and problems laced by contemprary sculptors.
Indian modem Art, British colonial painting, Bengal School, Raja Ravi Verma, Academic Realism, Progressive Schools, Emergence of Art as a movement; styles and schools of Indian art; Problem of Indian contemporary Art.
i.e. : Abanindranath Tagore, Nandalal Bose, Jamini Roy, A. Shergil, Ram Kinker Vaij, Rabindranath Tagore, Chuktai, Binod, Bihari Mukherjee, Pradosh Dasgupta, Nirod Majumdar, Sankho Choudhary, N. S. Bendre, Dhanraj Bhagat, progressive artist group Calcutta and Mumbai, Sudhir Khastgir, Chitta Prasad, Dhurandhar, Thakur Singh, Mahatre.
Major Stylistic Development in Western paintings and Sculptures; Impressionism, Expresionism, Cubism, Futurism, Abstract, Surrealism, European, American and contemporary art. The indegenous material used with local influences — Palsikar, Panikar, J. Swaiiiinathan, Jankiram, Satish Gujral, Biren De, Nagji Patel, Meera Mukheijee, Jeram Patel, Sushen Ghosh, Balbir S. Katt, Ved Nayar, Mahendra Pandya, Raghav Kaneria, etc.
Paper II & Paper III (Part A) Syllabus [Core Group]
Unit — I
General characteristics of Visual art / Fundamentals of visual art : Space, form, size, shape, line, colour, texture, tonal values, perspective, design and aesthetic organization of visual elements in art object (composition). The uses of two and three dimensions in visual art. Tactile quality in art. Environment and art. Perceptual and conceptual aspects in art.
Unit — II
Interrelationship of various arts : Rhythm, structure, use of space, visual properties, materials, techniques (traditional and modern), ideas, themes (narrative and non – narrative) conceptual, abstract elements between performing, cinematic, literary and plastic art.
Unit — III
Traditional and Modem mediums and materials in making visual arts: Painting, sculpture, print – making, mural, graphic design and multimedia art. Inventions, adoptations and development of these mediums and materials from the pre – historic period to present-day all over the world.
Unit — IV
Traditional and Modem techniques, processes and procedures, used in making painting, sculpture, print – making, mural, graphic design and multimedia art, such as modeling, carving, building, casting, different way of handling of colour pigment (like impasto, glazing, burnishing, drip), etching, relief, surface printing, fresco buono. fresco secco, etc. Printing processes including computer graphic, etc.
Unit — V
Relevance of the study of the history of world art (including history of advertising and marketing) for the students of Visual Arts in general and Art History as an area of specialization.
Unit — VI
Relevance of the study of aesthetic and critical theories of art for the students of Visual Arts (including students of Applied Arts) and students of Art History and Art Criticism specialization.
Unit — VII
Study of landmark phases and artists in Western Art History from Pre – Historic times to Contemporary phase from the point of view of ideology, materials, techniques, style, themes, formal and stylistic development.
Unit — VIII
Study of various phases of Indian Art History from Pre – Historic times to 18th century (including the history of advertisement) from the point of view of general formal and stylistic features and development of ideology, materials technique and themes.
Unit — IX
Development of modernity in 19th and 20th century. Indian art (including Applied Arts) with special reference to various art movements, medium, styles, individual artist’s contributions in different regions of the country. The development of art education from the British Art Schools till the contemporary period.
Unit — X
The significance of the study of Tribal, Folk and Popular arts and craft practices from all over the world for the modem artists ( including Applied Arts ) from the point of form, technique, content and concepts.
Paper III (Part B) Syllabus[Elective / Optional]
Elective — I: Art History
1. Indian Sculpture
Formal and stylistic aspects of sculpture in Indus Valley of Mauryan Sunga, Satvahana, Kushana (Mathura and Gandhara), Gupta (Buddhist, Brahmanical and Jain), Chalukya, Gurjara Pratihara, Pallava, Chola, Rashtrakuta, Hoysala, Kakatiya, Pala-Sena, Orissan, Solanki and Paramara periods.
2. Indian Architecture
Formal and stylistic aspects of architecture in Indus Valley of stupas (Bharhut, Sanchi, Amaravati, Samath) of cave temples, (Bhaja, Karle, Ajanta, Nasik, Lomas Rishi, Kanheri, etc.), Gupta (Udayagiri, Deogarh, Nachna, etc.), Ghalukya (Badami, Aihole, Pattadakal, etc.), Pallava (Mahabalipuram, Kanchipuram, etc.), Rashtrakuta (Ellora), Guijara Pratihara, Saindhava — Maitraka, Chandela (Khajuraho), Orissa (Bhubaneswar, Konarak), Chola (Tanjore and Gangaikonda Cholapuram, Darasuram, etc.), Hoysala (Belur, Halibid, etc.), Kakatiya, Kalayan, Chalukvas. Solanki (Modhera. Rani Ki vav etc.), Paramara, Nayuka and Vijayanagar (Hampi Lepakshi). Islamic architecture; Sultanate and Mughal; Mandu, Delhi, Agra, Fathepur Sikri.
3. Indian Painting
Formal and stylistic aspects of pre – historic, Ajanta, Bagh and later mural tradition, Manuscript painting (Eastern Indian and Western Indian), Sultanate (Mandu) Chourapanchasika style and other pre – Mughal schools, Mughal (Akbar to Shahjahan), Rajasthani (Mewar, Bundi, Kotah, Bikaneer, Jaipur, Kishangarh, etc.), Malwa, Pahari (Basholi, Guler, Kangra) and Deccani (Ahmednagar, Bijapur and Golkonda) schools.
4. Indian Iconography
Antiquity of image worship, development of the cult of Vishnu, Shiva and Shakti and various forms of their iconography, Sapta – matrika, Lakshmi, Surya, Yaksha, Ganesha and Kartikeya. Hindu temple and iconography (Ashta) (Dikpalas, River Goddesses, etc.), Buddhist narratives (Jataka tales and life of Buddha) origin and development of Buddha image and Bodhisatvas (Avalokiteshwara, Maitreya, Ashtamahabhayatarana, Avalokiteswara, Manjushri Tara and Kubera / Panchika. Iconography of Tirthankaras (Rishabhanatha, Mahavira, Parshvanatha, Neminatha), Bahubali, Jaina Yaksha and Yakshi, Ambika, syncretic images, etc. Narratives in Medieval painting (Gitagovinda, Ramayana, Laurchanda, Ragamala, Rasamanjari, Kalpasutra and Kalakachaiya Katha, etc.).
5. Aesthetics and Art Critical History
General principles of Indian art, art and beauty, principles of image making ( iconometry and other canons ), six limbs of Indian painting (shadanga) and six Chinese canons of painting, theories of Rasa, Dhvani, Alankara, Auchitya and Riti, and their relevance in understanding art making and viewing. Interrelationship of visual and performing art. Classification of painting in Chitrasutra. Concepts of Kshyavridhi, Guna – dosha, Sadrishya, Vartana, Nimnonata, etc. Visible and invisible aspects of art (Drishyam / Adrishyam), Rekha (Line) and Linear rhythm (Chanda) compositional aspects of art, perspective, form and content. Textual sources (Vishnu dharmottara, Brihatsamhita and other Silpasastra texts). Kashmiri aestheticians.
Distinctions and overlap between the scope of Art History, Art Criticism, and Aesthetic theories. Interrelationship between Art History, Anthropology, Archaeology, Cultural History and Philology. Development of Art History as a discipline. Connoiseurship and catalogue raissone. Development of formalism (Wolfflin, Reigl, Roger Fry, Greenberg), Iconology (Gombrich and Panofsky), Visual perception (Rudolf Amheim) and New Art History (Bryson, Hal Foster). Ananda Coomaraswamy and Stella Kramrisch and their relevance in the Indian Art Historical Studies.
Western approaches to art and aesthetics: Plato, Aristotle, Alberti, Vasari, Bellori, Reynolds, Diderot, Wincklemann, Croce, Tolstoy, etc. Writing by artists and manifestos of modem art movements. Theory of Avant – Garde. Implication of theories of Semiotics, Structuralism, Post – structuralism, Post – modernism and Feminism on Art thinking and writing.
6. European Art (Landmarks of Architecture Sculpture and Painting)
Pre – historic art (France and Spain), Cretan, Greek, Roman, Etruscan, Early Christian, Byzantine, Gothic, Renaissance, Mannerist, Baroque, Neo – Classicism, Romanticism, Realism,. Impressionism, Post-Impressionism, Symbolism, Fauvism, Cubism, Expressionism and different abstract trends. Futurism, Dadaism, Surrealism, Abstract Expressionism, Op, Pop, Mininimal, Neo – figuration and various art developments in Post-modern period (Italian Trans – avantgarde, German Neo – expressionism, Happening, Installation, Feminist and Gay art.
7. Art and Architecture of Ancient Near East
The art of Egyptian, Mesopotamian, Sumerian Akkadian, Assyrian, Achaemanid, Minoan and Sassanian cultures.
8. Art and Architecture of the Orient
The art Far Eastern (Chinese and Japanese), Islamic, Central Asia, Nepal, Tibet. Sri Lanka, Cambodia, Java, Siam and Burma.
9. Modern Indian Art
Company School, Bazar Painting, British Art Schools, Kalighat Painting, Raja Ravi Varma and followers. Neo – Bengal School (‘Revivalism’ and early modernists) : Abanindranath Tagore and disciples, Nandalal Bose, Benode Behari Mukheijee, Ramkinkar Baij, Rabindranath Tagore, Gaganendranath Tagore, Jamini Roy and others. Role of Santiniketan in art education.
Academic / Professional sculptors and painters; Mahatre, Talim, D.P. Roy Choudhuri, Dhurandar, Hemen Majumdar, Thakur Singh, etc. Early modernists : Amrita Shergil, Karmarkar, George Keyt. Art in 1940’s and 50’s : Bengal famine and artists (Somnath Hore, Chittaprasad, Zainul Abedin, Gobardhan Ash, Sudhir Khastgir), Progressive art movements in Calcutta, Madras, Bombay and Delhi. International Modernism and artists : F.N. Souza, Pradosh Dasgupta, K.C.S. Panikkar, B.C. Sanyal, Dinkar Kaushik, Nirode Majumdar, Paritosh Sen, M.F. Husain, Akbar Padamsee, Ramkumar and others. Independent Artists : N.S. Bendre, K.K. Hebbar, Shankho Choudhuri, Krishna Reddy, Dhanraj Bhagat, Y.K. Shukla, Piloo Poochkhanwala, V.S. Gaitonde. Santhanraj, Davierwala and others.
Art in 1960’s and 70’s Indigenist trends in painting, sculpture, mural and print – making; K. G. Subramanyam, K. C. S. Panikkar (Cholamandal artists village), Reddappa Naidu, S.B. Palsikar, Janaki Ram, Meera Mukherjee, Jyoti Bhatt, J. Swaminathan, Neo-Tantric art, etc. Figurative-Narrative trend since 1960’s; Bikash Bhattacharjee, Ganesh Pyne, A. Ramachandran, R.B. Bhaskaran, Lakshma Goud, Jogan Choudhuri, Bhupen Khakhar, Anjole Ela Menon, Arpita Singh, Gogi Saroj Pal, Arpana Kaur, Vivan Sundaram and others. Trend of Abstraction since 1960’s : Raghav Kaneria, Jairam Patel, P. Barwe, Ram Kumar, L. Munnuswamy, P. V. Kolte, Jagmohar Chopra, Balbir Singh Katt, Nagji Patel.
Development of Installation, Multimedia, Performative, Happening Art : Nalini Malatni, Ved Nayar, Vivan Sundaram and others.
Tribal, Folk and Popular Art (Including Design and Functional Art)
African, Oceanic, North-West Coast American, Mexican, Indian, South – East Asian Art.
India: Pata painting (Rajasthan, Bengal, Orissa), Madhubani, Warii, Pithoro painting. Dokra bronzes, terracotta horses (Gujarat, U.P., Bengal, M.P., Tamil Nadu), wood carving (Kondappalli, Karnataka (Bhuta), Bengal, M.P. ), Leather Puppets (A.P., Karnataka). Indian traditional and modem design and functional arts: Textiles — Benaras, Kanchipuram. Gujarat Brocade, Baluchari, Dacca Malmal, Paithaini, Katki and textiles of North – Eastern States. Tie and Die fabrics, embroideries ( Phulkari, Chamba Rumal, Kantha ), Metalware (Bidari, rapousse, enamelling), jade, beads, jewellery and other.
Elective — II: Drawing and Painting
Knowledge of principal elements, perspective values, fundamentals of paintings. Visual principles, Form, space, illusion, image. Chronology of the development of ideas. Visual reality, conceptual reality. Tradition and the gradual development of the art of combining the elements of ideas of different visual arts specialization.
Media and materials and their use, sketching and drawing. Application of materials, oil painting — Alla Prima and old master process, glazing and scumbling, priming of canvas, different types of oil, brushing etc. Tempera and Gouache and their uses in painting in both traditional and non-traditional art. Wash method on paper and silk, Acrylic, pastel, mixed media, water colour mural and mural techniques — Fresco secco and Buono fresco, Ajanta and different modem media relief and mixed media in mural.
Collage, Encaustic Wax
Supports in Painting (Canvas, paper, wood, silk, etc.)
Types of paintings, open air paintings, portrait paintings, study of head and full length figures, male and female. Landscape paintings, patronised art. paintings under different art movements, still life, thematic, abstract, etc.
Principles of compositions, reflection of artists personal views, development of concept. Process of creative paintings. Expression of ideas under some aesthetical and philosophical views. Artistic expression during different social and structural changes. Art and Changes.
Application of techniques, colours and colour theory and the application of colour theory in art activities. Colour harmony, traditional application of colour and the application of colour with reasoning.
Colour preparation, texture, technical aspect of pigment. Sources and influences of various traditions. Study and understanding of artistic value, construction of forms, shapes, planes, volume and totality, understanding of two and three dimensional approaches and the purpose.
Relevance of the study of aesthetics in Fine Arts / Visual Arts. The early Philosophical thoughts in Indian Culture. Nature and function of works of art in society. Concepts of Rasa, Sadanga, Dhvani, Alankara, etc., in traditional art. Concept of art and beauty, idea, imagination, intuition form and content, sublime, sympathy, empathy, creativity allegory, myth. Philosophy and aesthetical views of Kant, Hegel, etc.
Pre – historic Indian Painting, Classical Indian Paintings. Mural (Ajanta, Bagh) and later Mural traditions. Manuscript Painting, Miniature Painting, Folk and Tribal Paintings.
Company school of paintings, Raja Ravi Verma, Bengal School under Abanindranath and his disciples (Kshitindra Nath Majumdar, Samarendranath Gupta, K. Venkatappa, Abdul Rahman Chughtai, Ashit Kr. Haider, Nandalal, etc.)
Nandalal and his disciples (Ramkinkar, Binod Bihari, Dhirendrakrishna Dev Varma, etc.)
Amrita Shergil, Academic Realism, Calcutta Group (Paritosh Sen, Gobardhan Ash, Nirode Majumdar, Pradosh Dasgupta, Hemanta Mishra, etc.)
Major trends in contemporary Indian Art since, 1947.
Major phases in Western Painting, Greeco – Roman, Byzantine, Gothic, Renaissance ( background of Renaissance, Humanism and the intentions and discoveries of the evolution of personal style of Early Renaissance and High Renaissance ), Baroque and Rococo ( background, conception with some important artists activities ).
Neo – classicism, Romanticism, Neo-Realism, Impressionism Post – impressionism, Cubism, Fauvism, Futurism, Dadaism, Surrealism, Abstract Art, Abstract Expressionism Op, Pop, Neo – figuration, Art in Post – modern time.
Elective — III: Applied Art
Importance of Applied Art in Visual Communication in relation to various media, Consumer and Producer.
Understanding of all the elements of an advertising design/graphic design such as typography and calligraphy (Headline, copy), photography, illustration mnemonics, logo and symbol, punch line / base line / slogan, etc.
Conventional animation (Cell animation ) and Modem animation ( Computer animation 2D and 3D), Application of computer graphics in creating special effects. Its reactions and response from viewer.
Visualization — Research sources of visualization, collection of information material and ideas, selection of USP. development of concepts and final decision of selecting the media.
Outdoor advertising — Its importance in communication. Various kinds of media of outdoor advertising with its advantage over other media. Advertising ethics and censoring in using outdoor media.
Advertising campaign — Product (package designing for the surface of container, to start with), Corporate / Government and Social awareness. Suggestion of media according to the approach towards the target audience. Name all the media available. Innovation in Media. New technologies (computer, digital printers, etc.), TV Graphics, Multimedia presentation, Web – page designing and understanding of all the softwares (pagemaker, corel draw, photoshop, free – hand, dream weaver; 3D studio, etc. ), Internet, its use in advertising products and services, net marketing.
Organization of advertising agencies : Study of advertising management, setting up studio. Role and responsibilities of a Graphic designer. Art Director, Visualizer, Creative head, service department and copywriters. Creative director / creative head and copywriter, their interaction in developing concepts. Modem studio in present scenario—computer, printers and scanners, etc.
Interaction with other arts i.e., sculptors, painters, set designers and event management agencies.
History of advertising from early civilizations. Invention of moveable types. Development of printing processes : Letterpress, off – set gravure, silk-screen, embossing, thermography, etc.
Computers and its role in creating new visual effects. Importance of market research in advertising. History of Indian advertising and different media. History of printing in India. Print media vs Electronic Media.
Future of advertising in India. Entry of Multinationals and Indian Advertising. Top grade Advertising Agencies such as HTA Lintas, Mudra, O and M, etc. and their approaches.
Colonial paintings, Raja Ravi Verma, Bengal School, Abanindranath and his disciples, Nandlal Bose, Amrita Shergil and his disciples, Academic realism, Progressive Schools, Major Trends in Contemporary Indian Art.
Major phases in Western Painting, Greeco – Roman, Byzantine, Gothic, Renaissance, Baroque and Rococo Neo – classicism, Romanticisms, Neo – realism, Impressionism, Post – impressionism, Cubism, Futurism, Dadaism, Surrealism, Abstraction, Abstract Expression Op, Pop, Neo – figuration, Art in Post – modern time.
Elective — IV: Graphic Art (Print – making)
Fundamental of Visual Arts: Line, texture, volumes, space, colour, compositions.
Definition of Graphics — Print – making
Difference with other Art Forms
Brief history of printing
Knowledge of principle elements of print – making
Surface (relief and planography)
Intaglio
Stencil
Other mediums — Computer Graphics Paper – making ( Dimensional Prints ) Colography / Colagraphy / Chinecolle / Monoprint / Unique Print.
Surface: Relief
Invention
Media – woodcut, wood engraving, woodcut ( far Eastern ), Lino – cut and Lino etching
Material — Wood and Linoleum
Tools — Chemicals — Inks — Printing Machines
Approach to design — (i) Light to dark, (ii) Reduction method ( Dark to light )
Printing Methods — (i) Single block multicolour printing, (ii) Multiblock multicolour printing
Surface: Lithography
Media: Invention Lithography, Offset Printing, Oleograph
Material and Equipments—Stone and Plate — Tools Chemical — Inks — Press — Photograph — Enlargers
Techniques: Grinding, Graining; Image making — Drawing, Photo – transfer. Litho – engraving (tools or hone pencils ), Reverse / Re – reverse technique etc. Etching, Registration, Printing (Single block multicolour and Multi – block multicolour methods).
Offset Printing:
Invention
Direct and Indirect process
Image making: Hand – drawing and Photo-transfer
Material and Equipments: Ink — Chemicals — Press
Printing Method: Direct and Indirect Pictorial and formal qualities of Litho and Offset
Intaglio
Invention
Media — Drypoint, Engraving, Mezzotint Etching, Wood Intaglio, Viscosity
Materials – Plates: Metal, Acrylic, Wood and Sunmica, etc., Chemicals – Tools – Plate – making — Image making — Manual and Photo – transfer process. Approach to design Light to dark
Dark to light Characteristics of Prints in different intaglio techniques Stencil : Handcut stencil and Silkscreen (Serigraphy) Handcut stencil — Method and materials Silkscreen (Serigraphy) — materials (screen) : Silk, Nylon and Polyurithin Tools : Squeezee, frame, exposing table, printing table Chemicals — Inks and other equipments Printing methods : Manual and Mechanical
Other Mediums
Computer Graphics:
Direct printout from printer
Indirect use (Computer – generated images made to transfer on other print – making mediums)
Paper – making (dimensional print)
Materials
Machines and tools: Beater, tray, etc.
Chemicals and colours Technique
Photograph / Colograph — materials — block – making — printing methods – Intaglio, Relief
Chinecolle — Technique
Monoprint — Different techniques
Mixed media, multimedia and others
History of printing — Asia and Europe; Manifestation and invention of different media, Printing as a communicative media — book production in 19th – 20th century, influences of advertising. Print – making atelier / workshops.
Individual artist’s contributions — Durer, Rembrandt, Hogarth, Goya, Gaugiix Degas, Lautrec, Daumiere, German Expressionists (Kathe, Kolwitz, Nolde, Heckel, Grosz, Munch, etc.), Picasso, Pop and figurative artists (Roshenburg, Lichenstein, Jim Dine), David Hockney, Krishna Reddy, Peter Dauglish, Stanley Johns.
Japanese woodcuts and Important masters of Ukiyo-E-School — Important masters as — Hokurai, Hiroshige and Utamaro Print – making in India.
Commercial print – making in mid 19th century
Print – making in Bengal in early 20th century — Battala Printing and Kalighat
Individual Artists : Raja Ravi Verma, Members of Vichitra Club, Mukul Dey, Gaganendranath Tagore, etc. Santiniketan School, Nandlal Bose, Binod Behari Mukherjee, Ramkinkar, Biswarup Bose, Ramen Chakraborty, Haren Das, Somnath Hore, Chittaprasad, Jyoti Bhatt, Kanwal Krishna, Y. K. Shukla, Vasant Parab, Jagmohan Chopra, Paramjeet Singh, Lalita Lajmi, Naina Dalai, Laxma Goud, R. B. Bhaskaran, Pallani Appan, Sanat Kar, Lalu Prasad Shaw, Amitabha Baneijee, Debraj Dakoji, Bhupen Khakar, Waman Chincolkar, Paul Koli, Dipak Banerjee, Jai Jharotia, Prayag Jha, Rini Dhumal, Anupam Sud, Jayant Parikh.
Criteria of judging good quality prints (technically and aesthetically) conventions to identify the authenticity of prints—signature, editions, Artists’ proof, etc. Various issues related to contemporary print – making (mechanical reproduction, computer graphics, influences of advertising, pop-painters, print – making atelier and workshops, etc.).
Elective — V: Sculpture
Knowledge of principle elements in the art of sculpture.
Making — Basic concepts, visual concepts, perspective know how, Fundamentals of Sculpture, Figurative and Non-Figurative Sculpture.
Media and materials : (a) Wood; different types of woods—hard and soft in fibres — black ebony to soft ( fur variety ) light coloured wood (compressed fibs). Rough and Smooth depending on grain i.e. Ebony, Sheesham, Teek, Haldu, etc.
Stones: Sculptures took centuries to develop tools and determination to carve stones. Igneous rocks are volcanic rocks give the sculpture the hardest multicoloured granites and basalts.
Sedimentary Rocks i.e., Sand-stones and lime-stones. Formed in layers over the centuries.
Limestone: Softer in cutting but textured.
Metamorphic : Sedimentary and Igneous—when heated and compressed—became harder but also translucent, sometimes and marble became V V. Popular since Greek period and Roman period and continued to produce some of the finest challenging master pieces—unique of its kind in Renaissance period of in Baroque it was pan — Excellence in use. Michelangelo’s David and Bernini’s flowing drapery and Rodin’s Kiss and later Dilwara temple in India are breathtaking examples.
Metals:
Ferrous->Iron;
Non-Ferrous-> Bronze, Gun-Metal, Brass, Aluminium, Aluminium Bronze / Brass
Properties of Each Metal
Why lead and zink are absent and increase in copper, etc., can be studied in detail? Which of the following is more suitable for outdoor conditions?
Terra – Cotta:
Different types of clays, varying in porosity too with mixture of fine and rough grog for better firing possibilities.
Earthern Ware
Stone Ware
Wax:
Ceramic and Porcelian and China. Addition of sand, flint, Ball clay, bentonite grog gives more plasticity and colour variation to work with.
Different types of kilns to be prepared for metal casting moulds and terracotta and ceramic.
For large moulds for metal above ground as well as under ground kilns are prepared. For ceremic V, high temperature arrangement has to be considered above 1000 °C.
Papier mache — paper pulp mixed with different kinds of fibres and clay bodies for interesting texturous results.
Plaster of Paris—used as pure medium and also mixed with other medium. Cement, bricks, sand and pebbles — combination of these.
Fibre glass and Resin for casting.
Welding and brazing
Light, lazer beams
Iron Rods
Bamboos and ropes
Waste materials like plastic bags, paper and any cans, etc.
Re – inforcement material, i.e., lead pipes, broad pipes, angle irons, binding wires, big and small nails, wooden stands, revolving and static.
Tools:
Carving Stones, evolved over centuries used as predetermined sequence by most sculptors an order that has evolved with the tools.
Pitcher used for hacking and chipping of bigger chunks.
Punch—point chisel flattened punch used for sand stones.
Claw—broad flat chisel used to flatten surfaces cleanly after the punch carving. Chisel term most commonly used for cutting dearly.
New era chisels have tungston tips to cope easily with hard granites.
Tools have to be tempered to be hard and soft acurately to be dealing with different kinds of stones.
Variety of hammers have to suit the tools — shapes and weight.
Wood carving tools — various kinds of saws, axes, band – saw, jigsaw, Bow-saw, circular saw, chainsaw, wood carving chisel, wood gauge are necessary.
Sand papers, etc., for surface treatment also follow, for polishing.
Technique used for using the various material mentioned earlier, in the making of the sculpture could be modelled, constructed caste or welded, Bronze
sandcasting Metals : Brass
lost wax process
Aluminium cire perdue
A hand material pattern (shape) in made, keeping in mind the feasibility of the nature, limitation of casting. Direct hollow image in created by pressing into layers of specially prepared sand with tar and jaggery, and later pouring metals into the cavity created by removing the object.
This technique preferred for flat surfaces and solid castings.
Knowledge of composition of alloys will decide the nature of runners in sand casting.
Lost Wax process—Direct wax shape building is done to create the sculpture with or without the armative. Adding Runners, and riser, sprus, on top of the surface for pouring of the metal through the funnel.
Indegenous and Italian process is used for mould making. Indegenous in the local, clay, rice husks and cowdung moulds.
Italian in the brick dust with plaster of paris & semi-fired combinations.
Types of Moulds
Waste moulds, piece moulds, and mother moulds, rubber moulds in plaster of Paris. Metal casting with more percentage of bronze is ideal for permanent outdoor placements.
Patina — the colour effect achieved by chemical reactions also seals the surfaces and preserves it.
Iron Casting:
Cast iron by sand casting
Forged iron rods by heating and beating can have exciting modelled
Effects
Terra – Cotta — Fired clay — solid shaping, hollow building by coil method — sheet beating method and wheal building
Hollow castings by using piece moulds
Pure Bees Wax, resin and parafin mixed to serve the purpose. Direct handling of wax can be cast inside waste or piece moulds for desired thickness for casting.
Papier mache—can be prepared uniformly or non-uniformly by also mixing with various other materials.
Plaster of Paris—essential for making sculpture
Direct process
Moulding
Casting of sculpture
Cement: Directly used for constructing sculptures alongwith mixing types of sand and pebbles.
Casting inside waste or piece moulds.
Ideal for outdoor
Bricks:
Used for structuring independently as well as for reinforcement. Fibre Glass Casting : For casting of shapes Translucent
Light weight is an added asset Resin Casting—transparency
Welding — Brazing — various possibilites For small and large sculptures Lenier and hollowed shapes Lights — Lazer Beams — Used for illumination As shapes
Lights juxtaposed Iron Rods : Used independently and visibly by welding As re-inforced material for strength for hidden strength Waste Materials.
Revolving tables:
Various heights, breadths Assemblage of one or more units—using same or different material Direct Shape making assemblace on computer Two D. many sides Dissecting shapes Doing calculations for convenience Sculpturesque pottery Unconventional / Design / element in Functional
Non – Functional pottery
Sculpturesque Jewellery
Semi – traditional
Modem
To match with modem dresses
Sculpturesque Industrial Designing
Event management by sculptors i.e., stage—marriage—functions.
History of Sculpture — Prehistoric, Egyptian, Greek, Hellenistic, Romanesque, Gothic, Renaissance, Neoclassical, Indian — Mohenjodaro, Indus Valley, Maury an, Shunga, Satvahanas Chalukya, Rashtrakuta, Chola, Kushan, Individualism, Modem Sculpture.
Strong impact of Western Art, Folk Art, Tribal Art, Classical Art and Historical Art on Indian / modem contemporary Sculpture.
Contemporary sculpture, the importance of form, the impact of industrialisation, science and technology. New experiments came about such as happening, installation.
Change in the aesthetics contents of sculpture, new trends in Indian sculpture Trade in the field of sculpture.
Comparative study about different arts and problems laced by contemprary sculptors.
Indian modem Art, British colonial painting, Bengal School, Raja Ravi Verma, Academic Realism, Progressive Schools, Emergence of Art as a movement; styles and schools of Indian art; Problem of Indian contemporary Art.
i.e. : Abanindranath Tagore, Nandalal Bose, Jamini Roy, A. Shergil, Ram Kinker Vaij, Rabindranath Tagore, Chuktai, Binod, Bihari Mukherjee, Pradosh Dasgupta, Nirod Majumdar, Sankho Choudhary, N. S. Bendre, Dhanraj Bhagat, progressive artist group Calcutta and Mumbai, Sudhir Khastgir, Chitta Prasad, Dhurandhar, Thakur Singh, Mahatre.
Major Stylistic Development in Western paintings and Sculptures; Impressionism, Expresionism, Cubism, Futurism, Abstract, Surrealism, European, American and contemporary art. The indegenous material used with local influences — Palsikar, Panikar, J. Swaiiiinathan, Jankiram, Satish Gujral, Biren De, Nagji Patel, Meera Mukheijee, Jeram Patel, Sushen Ghosh, Balbir S. Katt, Ved Nayar, Mahendra Pandya, Raghav Kaneria, etc.
VISUAL ARTS MCQs
1. Who is the painter of famous painting “Maids of Honour”?
(A) Francisco de Goya
(B) Caravaggio
(C) Peter Paul Rubens
(D) Diego Velasquez
Ans: (D)
2. Chaunsath Yogini temple at Bhedaghat, Jabalpur is known for circular ground plan. To which dynastic reign it can be attributed?
(A) Gupta Dynasty
(B) Pratihar Dynasty
(C) Chandella Dynasty
(D) Solanki Dynasty
Ans: (C)
3. Who is attributed from the following to make powerful muscular female figure in action?
(A) Rodin
(B) Bernini
(C) Maillol
(D) Duchamp
Ans: (C)
4. Who is the author of famous work ‘Critique of Judgement’?
(A) Frederich Hegel
(B) Immanuel Kant
(C) Archibald Alison
(D) David Hume
Ans: (B)
5. In typography space between two characters is known as
(A) Leading
(B) Tracking
(C) Kerning
(D) Legibility
Ans: (C)
6. The process of recording human movement and translating that movement on to a digital mode is known as
(A) Motion picture
(B) Rotoscoping
(C) Manga
(D) Stopmotion
Ans: (A)
7. Which of the following is an example of sales promotional tool?
(A) The media mix
(B) A money refund offer
(C) Consumer promotion
(D) Market segmentation
Ans: (B)
8. ‘CC’ is a measurement unit in
(A) Internet Advertising
(B) Radio Advertising
(C) Outdoor Advertising
(D) Newspaper Advertising
Ans: (D)
9. Who is the action painter?
(A) James Ensor
(B) Degas
(C) Gose
(D) Jackson Pollok
Ans: (D)
10. Who painted the “Age of Innocence”?
(A) Reynolds
(B) Renoir
(C) Picasso
(D) Constable
Ans: (A)
11. Basawan was court painter of which school?
(A) Pahari
(B) Rajasthani
(C) Mughal
(D) Pal
Ans: (C)
12. Who painted the “Celebration Triptych” in acrylic?
(A) Biren De
(B) SatishGujral
(C) Tayeb Mehta
(D) Ramkumar
Ans: (C)
13. First mechanical printing started at
(A) Cochin
(B) Goa
(C) Kolkata
(D) Chennai
Ans: (B)
14. What is surface in lithographic process?
(A) Intaglio
(B) Raised surface printing
(C) Rotogravure
(D) Planography
Ans: (D)
15. Viscosity printing is done by using
(A) Types of oils
(B) Thinness of colour
(C) Rollers of different hardness
(D) Plastic surface
Ans: (C)
16. In the year 2012, what award was conferred to the cartoonist Late Mario de Miranda?
(A) Padma Bhushan
(B) Padma Vibhushan
(C) Bharat Ratna
(D) Padmashree
Ans: (B)
17. In iconography of Vishnu ‘Gada’ is represented as
(A) Female companion
(B) Celestial being
(C) Male companion
(D) A vehicle
Ans: (A)
18. “Man with Dog” is sculpted by
(A) August Rodin
(B) Aristide Maillol
(C) Dhruva Mistry
(D) Raghav Kaneria
Ans: (C)
19. Stone ware is made of
(A) Stone
(B) Glass
(C) Clay
(D) Plaster of Paris
Ans: (C)
20. Henry Moore was influenced by
(A) Maya and Aztec sculpture
(B) Etruscan sculpture
(C) African sculpture
(D) Indian sculpture
Ans: (A)
21. Assertion (A): Ram Kinkar did all his big sculptures in cement and concrete.
Reason (R): He chose this medium because no other medium was easily available.
(A) (A) and (R) both are correct.
(B) (A) is correct, (R) is not correct.
(C) (A) is not correct, (R) is partly correct.
(D) (A) is partly correct, (R) is not correct.
Ans: (A)
22. Assertion (A): Terracotta medium is more commonly used in West Bengal.
Reason (R): Terracotta is more used because no other material was found nearby.
(A) (A) is not correct, (R) is partly correct.
(B) (A) is correct, (R) is not correct.
(C) (A) and (R) both are correct.
(D) (A) and (R) both are not correct.
Ans: (C)
23. Assertion (A): Advertisements with false claims are subject to ethical issue.
Reason (R): Advertisements may become misleading, violating set norms and may affecting buying behaviour.
(A) (A) and (R) both are correct.
(B) (A) is not correct, (R) is correct.
(C) (A) is correct, (R) is not correct.
(D) (A) and (R) both are not correct.
Ans: (C)
24. Assertion (A): Advertisement must cope up with cultural environment and value system of the society.
Reason (R): Advertisements provide knowledge to the society about the products and services.
(A) (A) is correct, (R) is not correct.
(B) (A) and (R) both are correct.
(C) (A) and (R) both are not correct.
(D) (A) is not correct, (R) is correct.
Ans: (B)
25. Assertion (A): Ancient Greeks knew the architectural techniques of arch and domes but they mostly used Post and Lintel.
Reason (R): Arch and domes appear to rise upward either to reach other wordly goals or to dominate the beholder. Such motives were incompatible to Greek values.
(A) (A) and (R) both are not correct.
(B) (A) is correct, (R) is not correct.
(C) (A) and (R) both are correct.
(D) (A) is not correct, (R) is correct.
Ans: (C)
26. Assertion (A): Bull’s Head sculpted by Picasso is an important work of fine art made of handle bar and seat of a bicycle forming third image.
Reason (R): Because it reacts against conventional sculptural method of carving or modelling but expressing full emotion.
(A) (A) is correct, (R) is not correct.
(B) (A) and (R) both are correct.
(C) (A) and (R) both are not correct.
(D) (A) is not correct, (R) is correct.
Ans: (B)
27. Assertion (A): Prayag Jha Chillar is print maker. She does aquatint.
Reason (R): She is inspired by crows and the crows are only in black colour.
(A) (A) and (R) both are correct.
(B) (A) is correct, (R) is not correct.
(C) (A) is not correct, (R) is correct.
(D) (A) and (R) both are not correct.
Ans: (A)
28. Assertion (A): Print making should not be considered as the medium of expression in visual arts.
Reason (R): Print making is not direct action on paper, it only produces imprints on paper from some other surface worked by artist.
(A) (A) and (R) both are correct.
(B) (A) is not correct, (R) is correct.
(C) (A) and (R) both are not correct.
(D) (A) is correct, (R) is not correct.
Ans: (B)
29. Assertion (A): M.F. Hussain used bold lines in his paintings.
Reason (R): Because early life was full of struggle and he expressed his reaction through it.
(A) (A) is correct and (R) is not correct.
(B) (A) and (R) both are correct.
(C) (A) is not correct but (R) is correct.
(D) (A) and (R) both are not correct.
Ans: (A)
30. Assertion (A): Drawing is basic component of all visual arts.
Reason (R): Because without it form and image cannot be cast.
(A) (A) is correct but (R) is not correct.
(B) (A) and (R) both are correct.
(C) (A) is not correct but (R) is correct.
(D) (A) and (R) both are not correct.
Ans: (B)
31. Select the correct chronological sequence of Gupta temple architecture:
(A) Cave No. 17 of Sanchi, Shiva Temple of Bhumra, Dasavatar Temple of Deogarh, Brick temple of Bhitargaon.
(B) Shiva Temple of Bhumra, Dasavatar Temple of Deogarh, Brick Temple of Bhitargaon, Cave No. 17 of Sanchi
(C) Brick temple of Bhitargaon, Dasavatar Temple of Deogarh, Shiva Temple of Bhumra, Cave No. 17 of Sanchi.
(D) Dasavatar Temple of Deogarh, Shiva Temple of Bhumra, Cave No. 17 of Sanchi, Brick Temple of Bhitargaon
Ans: (A)
32. Select correct sequence of elements as described six limbs (shading) of Indian painting:
(A) Bhava, Lavanya, Praman, Rupabheda
(B) Rupabheda, Bhava, Lavanya, Praman
(C) Rupabheda, Praman, Bhava, Lavanya
(D) Praman, Rupabheda, Lavanya, Bhava
Ans: (C)
33. Select the correct chronological sequence of artists:
(A) Krishna Reddy, Ravi Varma, Jyoti Bhatt, Chitt Prasad
(B) Jyoti Bhatt, Krishna Reddy, ChittPrasad, Ravi Varma
(C) Ravi Varma, Krishna Reddy, Chitt Prasad, Jyoti Bhatt
(D) Ravi Varma, Chitt Prasad, Krishna Reddy, Jyoti Bhatt
Ans: (D)
34. Select the correct sequence of steps in woodcut printing:
(A) Rubbing with spoon, Carving, Rolling ink on block, Impression on paper
(B) Carving, Rolling ink on block, rubbing with spoon, Impression on paper
(C) Rubbing with spoon, Impression on paper, rolling ink on block, carving
(D) Rolling ink on block, Rubbing with spoon, Impression on paper, Carving
Ans: (B)
35. Select the correct sequence of execution:
(A) Animatics, Storyboarding, Editing, Scripting
(B) Storyboarding, Editing, Scripting, Animatics
(C) Scripting, Storyboarding, Animatics, Editing
(D) Scripting, Storyboarding, Editing, Animatics
Ans: (C)
36. Select the correct sequence of stages of a layout:
(A) Rough, Comprehensive, Semi comprehensive, Artwork
(B) Comprehensive, Semi comprehensive, Rough, Artwork
(C) Comprehensive, Rough, Semi comprehensive, Artwork
(D) Rough, Semi-comprehensive, Comprehensive, Artwork
Ans: (D)
37. Select the correct chronological sequence of the artists:
(A) Nagji Patel, Pradosh Dasgupta, Hiranmay Roychaudhury, DhanrajBhagat
(B)Pradosh Dasgupta, Nagji Patel, Dhanraj Bhagat, Hiranmay Roychaudhury
(C) Hiranmay Roychaudhury, Dhanraj Bhagat, Pradosh Dasgupta, Nagji Patel
(D) Dhanraj Bhagat, Hiranmay Roychaudhury, Pradosh Dasgupta, Nagji Patel
Ans: (C)
38. Select the correct sequence of steps in metal casting:
(A) P.O.P. Piece mould, Wax model, Investment mould, Metal pouring
(B) P.O.P. piece mould, Investment mould, Wax model, Metal pouring
(C) Metal pouring, P.O.P. piece mould, Wax model, Investment mould
(D) Investment mould, Metal pouring, Wax model, P.O.P. piece mould
Ans: (A)
39. Select the correct sequence of artists in order of successive art movements :
(A) Courbet, Degas, Cezanne, Braque
(B) Degas, Courbet, Braque, Cezanne
(C) Cezanne, Braque, Degas, Courbet
(D) Braque, Cezanne, Degas, Courbet
Ans: (A)
40. Select the correct sequence in chronological order:
(A) Nandalal Bose, Arpita Singh, Amrita Shergil, Nalini Malani
(B)Nandalal Bose, Amrita Shergil, Arpita Singh, Nalini Malani
(C) Arpita Singh, Nalini Malani, Amrita Shergil, Nandalal Bose
(D) Amrita Shergil, Nandalal Bose, Nalini Malani, Arpita Singh
Ans: (B)
41. Match the following:
a. Tate Art Gallery i. Hyderabad
b. Louvre Museum ii. Bhopal
c. Bharat Bhawan iii. London
d. Salarjang Museum iv. Paris
Codes:
a b c d
(A) iv iii i ii
(B) iii iv ii i
(C) i ii iii iv
(D) ii iv i iii
Ans: (B)
42. Match the temples with respective sites:
a. Ladkhan Temple i. Aihole
b. Bhimarath ii. Bhubaneswara
c. VaitalDeul iii. Gwalior
d. TelikaMandir iv. Mahabalipuram
Codes:
a b c d
(A) i ii iii iv
(B) iii iv i ii
(C) iv ii iii i
(D) i iv ii iii
Ans: (D)
43. Match the following:
a. Oleography i. Intaglio printing
b. Metal engraving ii. Stencil printing
c. Wood engraving iii. Planography
d. Silk screen iv. Relief printing
Codes:
a b c d
(A) i iv ii iii
(B) iv ii iii i
(C) ii iii i iv
(D) iii i iv ii
Ans: (D)
44. Match the following:
a. Carol Summers i. Wood engraving
b. Hoksai ii. Print from wood block on both side of paper
c. ZarinaHashmi iii. Wood cut
d. Albrecht Durer iv. Japanese colour wood print
Codes:
a b c d
(A) iii i iv ii
(B) ii iv iii i
(C) i ii iv iii
(D) iv iii ii i
Ans: (B)
45. Match the material with sculpture mediums:
a. Casting i. Ivory
b. Modelling ii. Scrap wood
c. Carving iii. Aluminium
d. Assemblage iv. Wax
Codes:
a b c d
(A) iv ii i iii
(B) iii iv i ii
(C) iii i iv ii
(D) i ii iii iv
Ans: (B)
46. Match the following artists with their relevant creative works:
a. Marcel Duchamp i. Florence Pieta
b. Balbir Singh Katt ii. Triumph of Labour
c. Michelangelo iii. Bicycle wheel
d. D.P. Roychaudhury iv. Nadeshwar
Codes:
a b c d
(A) iv ii i iii
(B) iii i ii iv
(C) iii iv i ii
(D) ii i iii iv
Ans: (C)
47. Match the following:
a. Mario Miranda i. Photojournalist
b. HomaiVyarawalla ii. Graphic Designer
c. Mickey Patel iii. Cartoonist
d. SudarshanDheer iv. Illustrator
Codes:
a b c d
(A) i iii ii iv
(B) iii i iv ii
(C) iv ii i iii
(D) ii iv iii i
Ans: (B)
48. Match the following:
a. Transit i. Indoor media
b. Television ii. Outdoor media
c. Direct mail iii. Hangings
d. Point of purchase iv. By Mail
Codes:
a b c d
(A) ii i iv iii
(B) i iv iii ii
(C) iii ii i iv
(D) ii iii iv i
Ans: (A)
49. Match the following artists to their respective phases:
a. Edgar Degas i. Fauvism
b. Matisse ii. Dadaism
c. Braque iii. Impressionism
d. Picabia iv. Cubism
Codes:
a b c d
(A) i iii ii iv
(B) iii i iv ii
(C) iv ii i iii
(D) ii iv iii i
Ans: (B)
50. Match the following textile with their States:
a. Phulkari i. Meghalaya
b. Lushai ii. Gujarat
c. Kantha iii. Punjab
d. Tanchol iv. Bengal
Codes:
a b c d
(A) i iii ii iv
(B) iii i iv ii
(C) iv ii i iii
(D) ii iv iii i
Ans: (B)
(A) Francisco de Goya
(B) Caravaggio
(C) Peter Paul Rubens
(D) Diego Velasquez
Ans: (D)
2. Chaunsath Yogini temple at Bhedaghat, Jabalpur is known for circular ground plan. To which dynastic reign it can be attributed?
(A) Gupta Dynasty
(B) Pratihar Dynasty
(C) Chandella Dynasty
(D) Solanki Dynasty
Ans: (C)
3. Who is attributed from the following to make powerful muscular female figure in action?
(A) Rodin
(B) Bernini
(C) Maillol
(D) Duchamp
Ans: (C)
4. Who is the author of famous work ‘Critique of Judgement’?
(A) Frederich Hegel
(B) Immanuel Kant
(C) Archibald Alison
(D) David Hume
Ans: (B)
5. In typography space between two characters is known as
(A) Leading
(B) Tracking
(C) Kerning
(D) Legibility
Ans: (C)
6. The process of recording human movement and translating that movement on to a digital mode is known as
(A) Motion picture
(B) Rotoscoping
(C) Manga
(D) Stopmotion
Ans: (A)
7. Which of the following is an example of sales promotional tool?
(A) The media mix
(B) A money refund offer
(C) Consumer promotion
(D) Market segmentation
Ans: (B)
8. ‘CC’ is a measurement unit in
(A) Internet Advertising
(B) Radio Advertising
(C) Outdoor Advertising
(D) Newspaper Advertising
Ans: (D)
9. Who is the action painter?
(A) James Ensor
(B) Degas
(C) Gose
(D) Jackson Pollok
Ans: (D)
10. Who painted the “Age of Innocence”?
(A) Reynolds
(B) Renoir
(C) Picasso
(D) Constable
Ans: (A)
11. Basawan was court painter of which school?
(A) Pahari
(B) Rajasthani
(C) Mughal
(D) Pal
Ans: (C)
12. Who painted the “Celebration Triptych” in acrylic?
(A) Biren De
(B) SatishGujral
(C) Tayeb Mehta
(D) Ramkumar
Ans: (C)
13. First mechanical printing started at
(A) Cochin
(B) Goa
(C) Kolkata
(D) Chennai
Ans: (B)
14. What is surface in lithographic process?
(A) Intaglio
(B) Raised surface printing
(C) Rotogravure
(D) Planography
Ans: (D)
15. Viscosity printing is done by using
(A) Types of oils
(B) Thinness of colour
(C) Rollers of different hardness
(D) Plastic surface
Ans: (C)
16. In the year 2012, what award was conferred to the cartoonist Late Mario de Miranda?
(A) Padma Bhushan
(B) Padma Vibhushan
(C) Bharat Ratna
(D) Padmashree
Ans: (B)
17. In iconography of Vishnu ‘Gada’ is represented as
(A) Female companion
(B) Celestial being
(C) Male companion
(D) A vehicle
Ans: (A)
18. “Man with Dog” is sculpted by
(A) August Rodin
(B) Aristide Maillol
(C) Dhruva Mistry
(D) Raghav Kaneria
Ans: (C)
19. Stone ware is made of
(A) Stone
(B) Glass
(C) Clay
(D) Plaster of Paris
Ans: (C)
20. Henry Moore was influenced by
(A) Maya and Aztec sculpture
(B) Etruscan sculpture
(C) African sculpture
(D) Indian sculpture
Ans: (A)
21. Assertion (A): Ram Kinkar did all his big sculptures in cement and concrete.
Reason (R): He chose this medium because no other medium was easily available.
(A) (A) and (R) both are correct.
(B) (A) is correct, (R) is not correct.
(C) (A) is not correct, (R) is partly correct.
(D) (A) is partly correct, (R) is not correct.
Ans: (A)
22. Assertion (A): Terracotta medium is more commonly used in West Bengal.
Reason (R): Terracotta is more used because no other material was found nearby.
(A) (A) is not correct, (R) is partly correct.
(B) (A) is correct, (R) is not correct.
(C) (A) and (R) both are correct.
(D) (A) and (R) both are not correct.
Ans: (C)
23. Assertion (A): Advertisements with false claims are subject to ethical issue.
Reason (R): Advertisements may become misleading, violating set norms and may affecting buying behaviour.
(A) (A) and (R) both are correct.
(B) (A) is not correct, (R) is correct.
(C) (A) is correct, (R) is not correct.
(D) (A) and (R) both are not correct.
Ans: (C)
24. Assertion (A): Advertisement must cope up with cultural environment and value system of the society.
Reason (R): Advertisements provide knowledge to the society about the products and services.
(A) (A) is correct, (R) is not correct.
(B) (A) and (R) both are correct.
(C) (A) and (R) both are not correct.
(D) (A) is not correct, (R) is correct.
Ans: (B)
25. Assertion (A): Ancient Greeks knew the architectural techniques of arch and domes but they mostly used Post and Lintel.
Reason (R): Arch and domes appear to rise upward either to reach other wordly goals or to dominate the beholder. Such motives were incompatible to Greek values.
(A) (A) and (R) both are not correct.
(B) (A) is correct, (R) is not correct.
(C) (A) and (R) both are correct.
(D) (A) is not correct, (R) is correct.
Ans: (C)
26. Assertion (A): Bull’s Head sculpted by Picasso is an important work of fine art made of handle bar and seat of a bicycle forming third image.
Reason (R): Because it reacts against conventional sculptural method of carving or modelling but expressing full emotion.
(A) (A) is correct, (R) is not correct.
(B) (A) and (R) both are correct.
(C) (A) and (R) both are not correct.
(D) (A) is not correct, (R) is correct.
Ans: (B)
27. Assertion (A): Prayag Jha Chillar is print maker. She does aquatint.
Reason (R): She is inspired by crows and the crows are only in black colour.
(A) (A) and (R) both are correct.
(B) (A) is correct, (R) is not correct.
(C) (A) is not correct, (R) is correct.
(D) (A) and (R) both are not correct.
Ans: (A)
28. Assertion (A): Print making should not be considered as the medium of expression in visual arts.
Reason (R): Print making is not direct action on paper, it only produces imprints on paper from some other surface worked by artist.
(A) (A) and (R) both are correct.
(B) (A) is not correct, (R) is correct.
(C) (A) and (R) both are not correct.
(D) (A) is correct, (R) is not correct.
Ans: (B)
29. Assertion (A): M.F. Hussain used bold lines in his paintings.
Reason (R): Because early life was full of struggle and he expressed his reaction through it.
(A) (A) is correct and (R) is not correct.
(B) (A) and (R) both are correct.
(C) (A) is not correct but (R) is correct.
(D) (A) and (R) both are not correct.
Ans: (A)
30. Assertion (A): Drawing is basic component of all visual arts.
Reason (R): Because without it form and image cannot be cast.
(A) (A) is correct but (R) is not correct.
(B) (A) and (R) both are correct.
(C) (A) is not correct but (R) is correct.
(D) (A) and (R) both are not correct.
Ans: (B)
31. Select the correct chronological sequence of Gupta temple architecture:
(A) Cave No. 17 of Sanchi, Shiva Temple of Bhumra, Dasavatar Temple of Deogarh, Brick temple of Bhitargaon.
(B) Shiva Temple of Bhumra, Dasavatar Temple of Deogarh, Brick Temple of Bhitargaon, Cave No. 17 of Sanchi
(C) Brick temple of Bhitargaon, Dasavatar Temple of Deogarh, Shiva Temple of Bhumra, Cave No. 17 of Sanchi.
(D) Dasavatar Temple of Deogarh, Shiva Temple of Bhumra, Cave No. 17 of Sanchi, Brick Temple of Bhitargaon
Ans: (A)
32. Select correct sequence of elements as described six limbs (shading) of Indian painting:
(A) Bhava, Lavanya, Praman, Rupabheda
(B) Rupabheda, Bhava, Lavanya, Praman
(C) Rupabheda, Praman, Bhava, Lavanya
(D) Praman, Rupabheda, Lavanya, Bhava
Ans: (C)
33. Select the correct chronological sequence of artists:
(A) Krishna Reddy, Ravi Varma, Jyoti Bhatt, Chitt Prasad
(B) Jyoti Bhatt, Krishna Reddy, ChittPrasad, Ravi Varma
(C) Ravi Varma, Krishna Reddy, Chitt Prasad, Jyoti Bhatt
(D) Ravi Varma, Chitt Prasad, Krishna Reddy, Jyoti Bhatt
Ans: (D)
34. Select the correct sequence of steps in woodcut printing:
(A) Rubbing with spoon, Carving, Rolling ink on block, Impression on paper
(B) Carving, Rolling ink on block, rubbing with spoon, Impression on paper
(C) Rubbing with spoon, Impression on paper, rolling ink on block, carving
(D) Rolling ink on block, Rubbing with spoon, Impression on paper, Carving
Ans: (B)
35. Select the correct sequence of execution:
(A) Animatics, Storyboarding, Editing, Scripting
(B) Storyboarding, Editing, Scripting, Animatics
(C) Scripting, Storyboarding, Animatics, Editing
(D) Scripting, Storyboarding, Editing, Animatics
Ans: (C)
36. Select the correct sequence of stages of a layout:
(A) Rough, Comprehensive, Semi comprehensive, Artwork
(B) Comprehensive, Semi comprehensive, Rough, Artwork
(C) Comprehensive, Rough, Semi comprehensive, Artwork
(D) Rough, Semi-comprehensive, Comprehensive, Artwork
Ans: (D)
37. Select the correct chronological sequence of the artists:
(A) Nagji Patel, Pradosh Dasgupta, Hiranmay Roychaudhury, DhanrajBhagat
(B)Pradosh Dasgupta, Nagji Patel, Dhanraj Bhagat, Hiranmay Roychaudhury
(C) Hiranmay Roychaudhury, Dhanraj Bhagat, Pradosh Dasgupta, Nagji Patel
(D) Dhanraj Bhagat, Hiranmay Roychaudhury, Pradosh Dasgupta, Nagji Patel
Ans: (C)
38. Select the correct sequence of steps in metal casting:
(A) P.O.P. Piece mould, Wax model, Investment mould, Metal pouring
(B) P.O.P. piece mould, Investment mould, Wax model, Metal pouring
(C) Metal pouring, P.O.P. piece mould, Wax model, Investment mould
(D) Investment mould, Metal pouring, Wax model, P.O.P. piece mould
Ans: (A)
39. Select the correct sequence of artists in order of successive art movements :
(A) Courbet, Degas, Cezanne, Braque
(B) Degas, Courbet, Braque, Cezanne
(C) Cezanne, Braque, Degas, Courbet
(D) Braque, Cezanne, Degas, Courbet
Ans: (A)
40. Select the correct sequence in chronological order:
(A) Nandalal Bose, Arpita Singh, Amrita Shergil, Nalini Malani
(B)Nandalal Bose, Amrita Shergil, Arpita Singh, Nalini Malani
(C) Arpita Singh, Nalini Malani, Amrita Shergil, Nandalal Bose
(D) Amrita Shergil, Nandalal Bose, Nalini Malani, Arpita Singh
Ans: (B)
41. Match the following:
a. Tate Art Gallery i. Hyderabad
b. Louvre Museum ii. Bhopal
c. Bharat Bhawan iii. London
d. Salarjang Museum iv. Paris
Codes:
a b c d
(A) iv iii i ii
(B) iii iv ii i
(C) i ii iii iv
(D) ii iv i iii
Ans: (B)
42. Match the temples with respective sites:
a. Ladkhan Temple i. Aihole
b. Bhimarath ii. Bhubaneswara
c. VaitalDeul iii. Gwalior
d. TelikaMandir iv. Mahabalipuram
Codes:
a b c d
(A) i ii iii iv
(B) iii iv i ii
(C) iv ii iii i
(D) i iv ii iii
Ans: (D)
43. Match the following:
a. Oleography i. Intaglio printing
b. Metal engraving ii. Stencil printing
c. Wood engraving iii. Planography
d. Silk screen iv. Relief printing
Codes:
a b c d
(A) i iv ii iii
(B) iv ii iii i
(C) ii iii i iv
(D) iii i iv ii
Ans: (D)
44. Match the following:
a. Carol Summers i. Wood engraving
b. Hoksai ii. Print from wood block on both side of paper
c. ZarinaHashmi iii. Wood cut
d. Albrecht Durer iv. Japanese colour wood print
Codes:
a b c d
(A) iii i iv ii
(B) ii iv iii i
(C) i ii iv iii
(D) iv iii ii i
Ans: (B)
45. Match the material with sculpture mediums:
a. Casting i. Ivory
b. Modelling ii. Scrap wood
c. Carving iii. Aluminium
d. Assemblage iv. Wax
Codes:
a b c d
(A) iv ii i iii
(B) iii iv i ii
(C) iii i iv ii
(D) i ii iii iv
Ans: (B)
46. Match the following artists with their relevant creative works:
a. Marcel Duchamp i. Florence Pieta
b. Balbir Singh Katt ii. Triumph of Labour
c. Michelangelo iii. Bicycle wheel
d. D.P. Roychaudhury iv. Nadeshwar
Codes:
a b c d
(A) iv ii i iii
(B) iii i ii iv
(C) iii iv i ii
(D) ii i iii iv
Ans: (C)
47. Match the following:
a. Mario Miranda i. Photojournalist
b. HomaiVyarawalla ii. Graphic Designer
c. Mickey Patel iii. Cartoonist
d. SudarshanDheer iv. Illustrator
Codes:
a b c d
(A) i iii ii iv
(B) iii i iv ii
(C) iv ii i iii
(D) ii iv iii i
Ans: (B)
48. Match the following:
a. Transit i. Indoor media
b. Television ii. Outdoor media
c. Direct mail iii. Hangings
d. Point of purchase iv. By Mail
Codes:
a b c d
(A) ii i iv iii
(B) i iv iii ii
(C) iii ii i iv
(D) ii iii iv i
Ans: (A)
49. Match the following artists to their respective phases:
a. Edgar Degas i. Fauvism
b. Matisse ii. Dadaism
c. Braque iii. Impressionism
d. Picabia iv. Cubism
Codes:
a b c d
(A) i iii ii iv
(B) iii i iv ii
(C) iv ii i iii
(D) ii iv iii i
Ans: (B)
50. Match the following textile with their States:
a. Phulkari i. Meghalaya
b. Lushai ii. Gujarat
c. Kantha iii. Punjab
d. Tanchol iv. Bengal
Codes:
a b c d
(A) i iii ii iv
(B) iii i iv ii
(C) iv ii i iii
(D) ii iv iii i
Ans: (B)
51. Select the correct sequence of European painting in chronological order:
(A) Last Judgement, the Studio, Tribute Money, Water Lilies
(B) Tribute Money, Last Judgement, the Studio, Water Lilies
(C) Tribute Money, Last Judgement, Water Lilies, the Studio
(D) Water Lilies, the Studio, Tribute Money, Last Judgement
Ans: (B)
52. Select the correct chronology of groups formed by Indian painters:
(A) Group – 1890, Young Turks, PAG, Delhi Shilpi Chakra
(B) PAG, Delhi Shilpi Chakra, Group – 1890, Young Turks
(C) Young Turks, PAG, Delhi Shilpi Chakra, Group – 1890
(D) Delhi Shilpi Chakra, Group – 1890, Young Turks, PAG
Ans: (C)
53. Arrange according to chronological order:
(A) Suprematism, Rayonism, Purism, Neo-plasticism
(B) Rayonism, Suprematism, Purism, Neo-plasticism
(C) Purism, Neo-plasticism, Suprematism, Rayonism
(D) Neo-plasticism, Purism, Rayonism, Suprematism
Ans: (B)
54. Select the correct chronology of the paintings creation:
(A) Bodhisattvas, Ragamala, Rock Painting, Composition – II
(B) Ragamala, Rock Painting, Bodhisattvas, Composition – II
(C) Composition – II, Ragamala, Rock Painting, Bodhisattvas
(D) Rock Painting, Bodhisattvas, Ragamala, Composition – II
Ans: (D)
55. Select the correct chronological order:
(A) Government College of Art & Craft, Kolkata, Kala Bhavan, Shantiniketan Kolkata, Madras (Chennai) School of Arts & Crafts – Chennai, Sir J.J. School of Art, Mumbai
(B) Sir J.J. School of Art – Mumbai, Madras (Chennai) School of Arts & Crafts – Chennai, Kala Bhavan – Shantiniketan – Kolkata, Government College of Art & Craft – Kolkata
(C) Madras (Chennai) School of Arts & Crafts – Chennai, Government College of Art &Craft, Kolkata, Sir J.J. School of Art, Mumbai Kala Bhavan Shantiniketan, Kolkata
(D) Kala Bhavan, Shantiniketan – Kolkata, Sir J.J. School of Art – Mumbai, Government College of Art & Craft, Kolkata, Madras (Chennai) School of Arts &Crafts – Chennai
Ans: (C)
56. Select the correct sequence of machine used in print making:
(A) Litho Press machine, Etching Press machine, Routing machine, Block printing machine
(B) Routing machine, Etching press machine, Block printing machine, Litho press machine.
(C) Litho press machine, Routing machine, Block printing machine, Etching press machine
(D) Block printing machine, Etching press machine, Litho press machine, Routing machine
Ans: (D)
57. Select the correct sequence of tools used in print-making:
(A) Different cut graver, Needle, Rocker, Levigator
(B) Needle, Different cut graver, Rocker, Levigator
(C) Levigator, Rocker, Needle, Different cut graver
(D) Rocker, Different cut graver, Levigator, Needle
Ans: (B)
58. Sequence in order of invention:
(A) Wood block printing, movable types, lithography, laserprinting.
(B) Movable types, lithography, laserprinting, wood block printing
(C) Lithography, laserprinting, wood block printing, movable types
(D) Laserprinting, wood block printing, movable types, lithography
Ans: (A)
59. Sequence the four P’s of marketing implementation wise:
(A) Product, Price, Place, Promotion
(B) Product, Promotion, Place, Price
(C) Price, Promotion, Product, Place
(D) Product, Promotion, Price, Place
Ans: (A)
60. Sequence the steps of 3D Animation:
(A) Modelling, Rigging, Texture, Rendering
(B) Texture, Rigging, Modelling, Rendering
(C) Modelling, Texture, Rigging, Rendering
(D) Rigging, Rendering, Modelling, Texture
Ans: (C)
61. Choose the correct sequence in chronological order:
(A) Ramkinkar Baij, Prodosh Dasgupta, Sankho Chowdhury, Ajit Chakraborty
(B) Ramkinkar Baij, Sankho Chowdhury, Prodosh Dasgupta, Ajit Chakraborty
(C) Ramkinkar Baij, Sankho Chowdhury, Ajit Chakraborty, Prodosh Dasgupta
(D) Ramkinkar Baij, Prodosh Dasgupta, Ajit Chakraborty, Sankho Chowdhury
Ans: (A)
62. Choose the correct sequence of Dynasties in chronological order:
(A) The Chalukyas, the Guptas, the Pallavas, the Chandellas
(B) The Pallavas, the Chalukyas, the Guptas, the Chandellas
(C) The Guptas, the Chandellas, the Chalukyas, the Pallavas
(D) The Guptas, the Chalukyas, the Chandellas, the Pallavas
Ans: (C)
63. Choose the correct sequence according to the creation:
(A) The Gates of Hell, Monument of Balzac, the Age of Bronze, the Burghers of Calais
(B) The Age of Bronze, the Burghers of Calais, Monument of Balzac, the Gates of Hell
(C) The Burghers of Calais, Monument of Balzac, the Gates of Hell, the Age of Bronze
(D) Monument of Balzac, the Gates of Hell, the Age of Bronze, the Burghers of Calais
Ans: (B)
64. Match the artists to their respective art movement:
a. Claude Monet i. Surrealism
b. Salvador Dali ii. Fauvism
c. Gustav Courbet iii. Realism
d. George Rouault iv. Impressionism
Codes:
a b c d
(A) iv i ii iii
(B) iv i iii ii
(C) i ii iv iii
(D) iv iii i ii
Ans: (B)
65. Match the following aesthetes to theories they propounded:
a. Croce i. Theory of Communication
b. Aristotle ii. Theory of Imagination
c. Tolstoy iii. Theory of Imitation
d. Collingwood iv. Theory of Intuition
Codes:
a b c d
(A) i ii iii iv
(B) iv iii i ii
(C) ii i iv iii
(D) iii iv i ii
Ans: (B)
66. Match the authors with their work:
a. Benjamin Rowland i. Survey of Indian Sculpture
b. V.S. Agrawal ii. Indian Architecture
c. Percy Brown iii. The Art and Architecture of India
d. S.K. Saraswati iv. Indian Art
Codes:
a b c d
(A) iii iv ii i
(B) i ii iii iv
(C) iv iii ii i
(D) ii iii i iv
Ans: (A)
67. Match the authors with their books:
a. A.K. Coomarswamy i. Art and Society
b. Herbert Read ii. Contemporary Art in India
c. Mulkraj Anand iii. Rajput Painting
d. P.N. Mago iv. An Album of Indian Painting
Codes:
a b c d
(A) ii iv ii i
(B) iii i iv ii
(C) iv ii i iii
(D) i ii iii iv
Ans: (B)
68. Match the painters with their paintings:
a. Nandalal Bose i. Mother and Child
b. Jamini Roy ii. Huts
c. Rathin Mitra iii. Mother feeding her Child
d. H.A. Gade iv. Open Air Restaurant
Codes:
a b c d
(A) iii iv ii i
(B) ii iii iv i
(C) iii i iv ii
(D) i ii iii iv
Ans: (C)
69. Match the artist to their group:
a. K.H. Ara i. Calcutta Group
b. Gopal Ghose ii. Society of Contemporary Art
c. Kanval Krishna iii. Bombay Progressive Group
d. Ganesh Payne iv. Delhi Shilpi Chakra
Codes:
a b c d
(A) iii i iv ii
(B) iii ii iv i
(C) iv ii i iii
(D) i ii iii iv
Ans: (A)
70. Match the following:
a. Salarjang Museum i. Mumbai
b. Prince of Wales Museum ii. Delhi
c. Indian Museum iii. Hyderabad
d. National Gallery of Modern Art iv. Kolkata
Codes:
a b c d
(A) ii i iv iii
(B) iii i iv ii
(C) ii i iii iv
(D) iv ii i iii
Ans: (B)
71. Match the following sculptors with their respective mediums:
a. Satish Gujral i. Brunt Wood
b. P. Daroz ii. Bronze
c. Rabindra Reddy iii. Ceramic
d. Meera Mukherjee iv. Fibre Glass
Codes:
a b c d
(A) ii iii i iv
(B) i iii iv ii
(C) iv i ii iii
(D) iii ii i iv
Ans: (B)
72. Match the following:
a. Matisse i. City Square
b. Brancusi ii. Guitar
c. Picasso iii. Bird in Space
d. Giacometti iv. The Back
Codes:
a b c d
(A) ii iii i iv
(B) iv iii ii i
(C) ii iii iv i
(D) iv i ii iii
Ans: (B)
73. Match the following:
a. Identification i. Package Design
b. Consumer Appeal ii. Containment
c. Protection & Convenience iii. Consumer Acceptance
d. Economy iv. Brand
Codes:
a b c d
(A) i ii iii iv
(B) iv i iii ii
(C) iii iv ii i
(D) i iii ii iv
Ans: (B)
74. Select the correct match:
a. Stop Motion i. Computer tool
b. Montage ii. Animation
c. Motion Blurs iii. Cinema
d. Lumiere Brothers iv. Visual Editing
Codes:
a b c d
(A) ii iv i iii
(B) iv ii iii i
(C) iii iv i ii
(D) i iii ii iv
Ans: (A)
75. Select the correct match:
a. Toulouse Lautrec i. Illustration
b. Piet Mondrian ii. Logo
c. Mickey Patel iii. Design
d. SudarshanDheer iv. Poster
Codes:
a b c d
(A) iv iii i ii
(B) iii iv i ii
(C) iv iii ii i
(D) i ii iv iii
Ans: (A)
76. Assertion (A): Contemporary art is complex in nature.
Reason (R): Since it has grown out of mental environ of contemporary society where every individual has freedom of expression and his own sensibility.
(A) (A) is correct, (R) is not correct.
(B) (A) and (R) both are not correct.
(C) (A) and (R) both are correct.
(D) (A) is correct, (R) is partially correct.
Ans: (C)
77. Assertion (A): Etching prints can be made using metal plate or hard surface.
Reason (R): Etching is easily done without any technical support.
(A) (A) and (R) both are not correct.
(B) (A) is correct, (R) is not correct.
(C) (A) is correct, (R) is also correct.
(D) (A) is not correct, (R) is correct.
Ans: (B)
78. Assertion (A): In India print making movement took place during the end of 20th century.
Reason (R): It was an impact since many notable print makers from U.S.A. worked in India during that time.
(A) (A) and (R) both are correct.
(B) (A) is not correct, (R) is correct.
(C) (A) and (R) both are not correct.
(D) (A) is correct, (R) is not correct.
Ans: (A)
79. Assertion (A): Illustration of Hamzanama, in twelve volumes shows a dramatic treatment of events, broad handling, and bright expressive colours.
Reason (R): Akbar was a man of literary and fine aesthetic taste who admired to depict the adventures of Mir Hamza, an uncle of the Profet.
(A) (A) and (R) both are correct.
(B) (A) is not correct, (R) is correct.
(C) (A) and (R) both are not correct.
(D) (A) is correct, (R) is not correct.
Ans: (A)
80. Assertion (A): G. R. Santosh is considered as a Tantric Painter.
Reason (R): Since he hailed from Kashmir and practiced Yoga Tantra.
(A) (A) is correct, but (R) is partially correct.
(B) (A) and (R) both are correct.
(C) (A) is not correct but (R) is correct.
(D) (A) and (R) both are not correct.
Ans: (A)
81. Select the correct chronological sequence of the artists of Renaissance.
(A) Botticelli, Donato Bramante, Leonardo da Vinci, Masaccio
(B) Masaccio, Botticelli, Donato Bramante, Leonardo da Vinci
(C) Donato Bramante, Botticelli, Leonardo da Vinci, Masaccio
(D) Donato Bramante, Masaccio, Botticelli, Leonardo da Vinci
Ans: (A)
82. Select correct chronological sequence of Orissan temples.
(A) Parasuramesvara, Vaital Deul, Lingaraj, Sun Temple of Konark
(B) Vaital Deul, Parasuramesvara, Lingaraj, Sun Temple of Konark
(C) Parasuramesvara, Lingaraj, Vaital Deul, Sun Temple of Konark
(D) Lingaraj, Parasuramesvara, Vaital Deul, Sun Temple of Konark
Ans: (C)
83. Select the correct sequence of techniques in order as invented.
(A) Dry-point, Aquatint, Line Etching, Metal Engraving
(B) Line Etching, Dry-point, Metal Engraving, Aquatint
(C) Dry-point, Aquatint, Metal Engraving, Line Etching
(D) Dry-point, Metal Engraving, Line Etching, Aquatint
Ans: (D)
84. Select the correct sequence of material used in silk screen printing.
(A) Squeeze, Frame, Exposing table, printing table
(B) Exposing table, Printing table, Squeeze, Frame
(C) Frame, Exposing table, Printing table, Squeeze
(D) Squeeze, Frame, Printing table, exposing table
Ans: (C)
85. Select the correct sequence of factors affecting the client – agency relationship.
(A) Chemistry, Communication, Conduct, Changes
(B) Chemistry, Conduct, Changes, Communication
(C) Conduct, Chemistry, Communication, Changes
(D) Communication, Conduct, Changes, Chemistry
Ans: (A)
86. Select the correct sequence in order of maximum perceiving ability.
(A) Eye, Ear, Taste, Smell
(B) Smell, Taste, Eye, Ear
(C) Ear, Smell, Eye, Taste
(D) Eye, Ear, Smell, Taste
Ans: (D)
87. Select the correct chronological sequence of the artists.
(A) Hanson, Matisse, Delacroix, Brancusi
(B) Delacroix, Matisse, Brancusi, Hanson
(C) Delacroix, Brancusi, Matisse, Hanson
(D) Delacroix, Hanson, Matisse, Brancusi
Ans: (B)
88. Select the correct sequence of steps.
(A) Carving, Marquette, Drawing, Finishing
(B) Marquette, Drawing, Carving, Finishing
(C) Drawing, Finishing, Carving, Marquette
(D) Drawing, Marquette, Carving, Finishing
Ans: (D)
89. Select the correct chronological sequence of the paintings.
(A) Cave Monastery, Khilari, Brooding, Haldi Grinders
(B) Khilari, Cave Monastery, Haldi Grinders, Brooding
(C) Brooding, Haldi Grinders, Cave Monastery, Khilari
(D) Haldi grinders, Brooding, Khilari, Cave Monastery
Ans: (C)
90. Select the correct chronological sequence of the artist who worked on geometrical forms.
(A) Om Prakash, B. Khanna, G. R. Santosh, J. Swaminathan
(B) G. R. Santosh, Om Prakash, B. Khanna, J. Swaminathan
(C) B. Khanna, G. R. Santosh, J. Swaminathan, Om Prakash
(D) J. Swaminathan, G. R. Santosh, B. Khanna, Om Prakash
Ans: (D)
91. Match the following iconographical attributes to their respective deities:
(a) Ushnish (i) Vishnu
(b) Chakra (ii) Shiva
(c) Trishul (iii) Buddha
(d) Kamandala (iv) Bodhisattva Maitreya
Codes:
(a) (b) (c) (d)
(A) (i) (iv) (ii) (iii)
(B) (iv) (iii) (ii) (i)
(C) (ii) (i) (iii) (iv)
(D) (iii) (i) (ii) (iv)
Ans: (B)
92. Match the following sculptures to their respective sites:
(a) Ravan Shaking Mount Kailash (i) Lauriyanandan Garh
(b) Maheshmurti (ii) Kailashnath Temple, Ellora
(c) Gangaavataran (iii) Elephanta Caves
(d) Mauryan Bull Capital (iv) Mahabalipuram
Codes:
(a) (b) (c) (d)
(A) (ii) (iii) (iv) (i)
(B) (iii) (iv) (ii) (i)
(C) (i) (ii) (iii) (iv)
(D) (ii) (iii) (i) (iv)
Ans: (D)
93. Match the following:
(a) Jay Zharotia (i) Kolkata
(b) Laxma Goud (ii) Baroda
(c) Rini Dhumal (iii) Delhi
(d) Sanat Kar (iv) Hyderabad
Codes:
(a) (b) (c) (d)
(A) (i) (iii) (ii) (iv)
(B) (iii) (iv) (ii) (i)
(C) (iv) (i) (iii) (ii)
(D) (ii) (iii) (iv) (i)
Ans: (B)
94. Match the following:
(a) Jagmohan Chopra (i) Aquatint
(b) Prayag Jha Chillar (ii) Drawing with print impression
(c) Sanat Kar (iii) Collography
(d) Palani Appan (iv) Wood Intaglio
Code :
(a) (b) (c) (d)
(A) (ii) (iv) (iii) (i)
(B) (ii) (iii) (i) (iv)
(C) (iii) (i) (iv) (ii)
(D) (iv) (i) (ii) (iii)
Ans: (C)
95. Match the material with sculpture mediums.
(a) Carving (i) Clay
(b) Modelling (ii) Brass
(c) Casting (iii) Scrap metal
(d) Assemblage (iv) Stone
Codes:
(a) (b) (c) (d)
(A) (iv) (ii) (iii) (i)
(B) (ii) (i) (iii) (iv)
(C) (iv) (i) (ii) (iii)
(D) (i) (ii) (iii) (iv)
Ans: (C)
96. Match the following artists with their relevant creative works:
(a) Prodosh Das Gupta (i) Bird in Space
(b) Edgar Degas (ii) The Bull
(c) Constantin Brancusi (iii) little fourteen year old Dancer
(d) Raghav Kaneria (iv) In Bondage
Codes:
(a) (b) (c) (d)
(A) (iv) (i) (ii) (iii)
(B) (iv) (iii) (i) (ii)
(C) (ii) (iii) (iv) (i)
(D) (ii) (i) (iv) (iii)
Ans: (B)
97. Match the following:
(a) Donate Eyes (i) Amitabh Bachchan
(b) End Polio Now (ii) Aishwarya Rai
(c) Be a Vegetarian (iii) Amir Khan
(d) Atithi Devo Bhav (iv) Maneka Gandhi
Codes:
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (i) (iv) (iii) (ii)
(C) (iii) (ii) (iv) (i)
(D) (iv) (iii) (i) (ii)
Ans: (A)
98. Match the following:
(a) Maximum Point Size (i) Cypher
(b) Entangled Interlaced Initial (ii) 72 point
(c) Unit of Resolution (iii) Pictogram
(d) Pictorial /Illustrated Text (iv) DPI
Codes:
(a) (b) (c) (d)
(A) (i) (iv) (iii) (ii)
(B) (iii) (ii) (iv) (i)
(C) (i) (iii) (ii) (iv)
(D) (ii) (i) (iv) (iii)
Ans: (D)
99. Match the following terms with painting medium:
(a) Light to dark (i) Oil Painting
(b) Dark to light (ii) Water colour painting
(c) Pasting (iii) Graphic
(d) Etching (iv) Collage
Codes:
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (ii) (iv) (iii) (i)
(C) (ii) (iii) (iv) (i)
(D) (i) (ii) (iii) (iv)
Ans: (A)
100. Match the following artists with their places:
(a) Asit Kumar Haldar (i) Delhi
(b) B. C. Sanyal (ii) Baroda
(c) Ravindra Nath Tagore (iii) Lucknow
(d) N. S. Bendre (iv) Shantiniketan
Codes:
(a) (b) (c) (d)
(A) (i) (iii) (ii) (iv)
(B) (iii) (i) (iv) (ii)
(C) (iv) (ii) (i) (iii)
(D) (ii) (iv) (iii) (i)
Ans: (B)
(A) Last Judgement, the Studio, Tribute Money, Water Lilies
(B) Tribute Money, Last Judgement, the Studio, Water Lilies
(C) Tribute Money, Last Judgement, Water Lilies, the Studio
(D) Water Lilies, the Studio, Tribute Money, Last Judgement
Ans: (B)
52. Select the correct chronology of groups formed by Indian painters:
(A) Group – 1890, Young Turks, PAG, Delhi Shilpi Chakra
(B) PAG, Delhi Shilpi Chakra, Group – 1890, Young Turks
(C) Young Turks, PAG, Delhi Shilpi Chakra, Group – 1890
(D) Delhi Shilpi Chakra, Group – 1890, Young Turks, PAG
Ans: (C)
53. Arrange according to chronological order:
(A) Suprematism, Rayonism, Purism, Neo-plasticism
(B) Rayonism, Suprematism, Purism, Neo-plasticism
(C) Purism, Neo-plasticism, Suprematism, Rayonism
(D) Neo-plasticism, Purism, Rayonism, Suprematism
Ans: (B)
54. Select the correct chronology of the paintings creation:
(A) Bodhisattvas, Ragamala, Rock Painting, Composition – II
(B) Ragamala, Rock Painting, Bodhisattvas, Composition – II
(C) Composition – II, Ragamala, Rock Painting, Bodhisattvas
(D) Rock Painting, Bodhisattvas, Ragamala, Composition – II
Ans: (D)
55. Select the correct chronological order:
(A) Government College of Art & Craft, Kolkata, Kala Bhavan, Shantiniketan Kolkata, Madras (Chennai) School of Arts & Crafts – Chennai, Sir J.J. School of Art, Mumbai
(B) Sir J.J. School of Art – Mumbai, Madras (Chennai) School of Arts & Crafts – Chennai, Kala Bhavan – Shantiniketan – Kolkata, Government College of Art & Craft – Kolkata
(C) Madras (Chennai) School of Arts & Crafts – Chennai, Government College of Art &Craft, Kolkata, Sir J.J. School of Art, Mumbai Kala Bhavan Shantiniketan, Kolkata
(D) Kala Bhavan, Shantiniketan – Kolkata, Sir J.J. School of Art – Mumbai, Government College of Art & Craft, Kolkata, Madras (Chennai) School of Arts &Crafts – Chennai
Ans: (C)
56. Select the correct sequence of machine used in print making:
(A) Litho Press machine, Etching Press machine, Routing machine, Block printing machine
(B) Routing machine, Etching press machine, Block printing machine, Litho press machine.
(C) Litho press machine, Routing machine, Block printing machine, Etching press machine
(D) Block printing machine, Etching press machine, Litho press machine, Routing machine
Ans: (D)
57. Select the correct sequence of tools used in print-making:
(A) Different cut graver, Needle, Rocker, Levigator
(B) Needle, Different cut graver, Rocker, Levigator
(C) Levigator, Rocker, Needle, Different cut graver
(D) Rocker, Different cut graver, Levigator, Needle
Ans: (B)
58. Sequence in order of invention:
(A) Wood block printing, movable types, lithography, laserprinting.
(B) Movable types, lithography, laserprinting, wood block printing
(C) Lithography, laserprinting, wood block printing, movable types
(D) Laserprinting, wood block printing, movable types, lithography
Ans: (A)
59. Sequence the four P’s of marketing implementation wise:
(A) Product, Price, Place, Promotion
(B) Product, Promotion, Place, Price
(C) Price, Promotion, Product, Place
(D) Product, Promotion, Price, Place
Ans: (A)
60. Sequence the steps of 3D Animation:
(A) Modelling, Rigging, Texture, Rendering
(B) Texture, Rigging, Modelling, Rendering
(C) Modelling, Texture, Rigging, Rendering
(D) Rigging, Rendering, Modelling, Texture
Ans: (C)
61. Choose the correct sequence in chronological order:
(A) Ramkinkar Baij, Prodosh Dasgupta, Sankho Chowdhury, Ajit Chakraborty
(B) Ramkinkar Baij, Sankho Chowdhury, Prodosh Dasgupta, Ajit Chakraborty
(C) Ramkinkar Baij, Sankho Chowdhury, Ajit Chakraborty, Prodosh Dasgupta
(D) Ramkinkar Baij, Prodosh Dasgupta, Ajit Chakraborty, Sankho Chowdhury
Ans: (A)
62. Choose the correct sequence of Dynasties in chronological order:
(A) The Chalukyas, the Guptas, the Pallavas, the Chandellas
(B) The Pallavas, the Chalukyas, the Guptas, the Chandellas
(C) The Guptas, the Chandellas, the Chalukyas, the Pallavas
(D) The Guptas, the Chalukyas, the Chandellas, the Pallavas
Ans: (C)
63. Choose the correct sequence according to the creation:
(A) The Gates of Hell, Monument of Balzac, the Age of Bronze, the Burghers of Calais
(B) The Age of Bronze, the Burghers of Calais, Monument of Balzac, the Gates of Hell
(C) The Burghers of Calais, Monument of Balzac, the Gates of Hell, the Age of Bronze
(D) Monument of Balzac, the Gates of Hell, the Age of Bronze, the Burghers of Calais
Ans: (B)
64. Match the artists to their respective art movement:
a. Claude Monet i. Surrealism
b. Salvador Dali ii. Fauvism
c. Gustav Courbet iii. Realism
d. George Rouault iv. Impressionism
Codes:
a b c d
(A) iv i ii iii
(B) iv i iii ii
(C) i ii iv iii
(D) iv iii i ii
Ans: (B)
65. Match the following aesthetes to theories they propounded:
a. Croce i. Theory of Communication
b. Aristotle ii. Theory of Imagination
c. Tolstoy iii. Theory of Imitation
d. Collingwood iv. Theory of Intuition
Codes:
a b c d
(A) i ii iii iv
(B) iv iii i ii
(C) ii i iv iii
(D) iii iv i ii
Ans: (B)
66. Match the authors with their work:
a. Benjamin Rowland i. Survey of Indian Sculpture
b. V.S. Agrawal ii. Indian Architecture
c. Percy Brown iii. The Art and Architecture of India
d. S.K. Saraswati iv. Indian Art
Codes:
a b c d
(A) iii iv ii i
(B) i ii iii iv
(C) iv iii ii i
(D) ii iii i iv
Ans: (A)
67. Match the authors with their books:
a. A.K. Coomarswamy i. Art and Society
b. Herbert Read ii. Contemporary Art in India
c. Mulkraj Anand iii. Rajput Painting
d. P.N. Mago iv. An Album of Indian Painting
Codes:
a b c d
(A) ii iv ii i
(B) iii i iv ii
(C) iv ii i iii
(D) i ii iii iv
Ans: (B)
68. Match the painters with their paintings:
a. Nandalal Bose i. Mother and Child
b. Jamini Roy ii. Huts
c. Rathin Mitra iii. Mother feeding her Child
d. H.A. Gade iv. Open Air Restaurant
Codes:
a b c d
(A) iii iv ii i
(B) ii iii iv i
(C) iii i iv ii
(D) i ii iii iv
Ans: (C)
69. Match the artist to their group:
a. K.H. Ara i. Calcutta Group
b. Gopal Ghose ii. Society of Contemporary Art
c. Kanval Krishna iii. Bombay Progressive Group
d. Ganesh Payne iv. Delhi Shilpi Chakra
Codes:
a b c d
(A) iii i iv ii
(B) iii ii iv i
(C) iv ii i iii
(D) i ii iii iv
Ans: (A)
70. Match the following:
a. Salarjang Museum i. Mumbai
b. Prince of Wales Museum ii. Delhi
c. Indian Museum iii. Hyderabad
d. National Gallery of Modern Art iv. Kolkata
Codes:
a b c d
(A) ii i iv iii
(B) iii i iv ii
(C) ii i iii iv
(D) iv ii i iii
Ans: (B)
71. Match the following sculptors with their respective mediums:
a. Satish Gujral i. Brunt Wood
b. P. Daroz ii. Bronze
c. Rabindra Reddy iii. Ceramic
d. Meera Mukherjee iv. Fibre Glass
Codes:
a b c d
(A) ii iii i iv
(B) i iii iv ii
(C) iv i ii iii
(D) iii ii i iv
Ans: (B)
72. Match the following:
a. Matisse i. City Square
b. Brancusi ii. Guitar
c. Picasso iii. Bird in Space
d. Giacometti iv. The Back
Codes:
a b c d
(A) ii iii i iv
(B) iv iii ii i
(C) ii iii iv i
(D) iv i ii iii
Ans: (B)
73. Match the following:
a. Identification i. Package Design
b. Consumer Appeal ii. Containment
c. Protection & Convenience iii. Consumer Acceptance
d. Economy iv. Brand
Codes:
a b c d
(A) i ii iii iv
(B) iv i iii ii
(C) iii iv ii i
(D) i iii ii iv
Ans: (B)
74. Select the correct match:
a. Stop Motion i. Computer tool
b. Montage ii. Animation
c. Motion Blurs iii. Cinema
d. Lumiere Brothers iv. Visual Editing
Codes:
a b c d
(A) ii iv i iii
(B) iv ii iii i
(C) iii iv i ii
(D) i iii ii iv
Ans: (A)
75. Select the correct match:
a. Toulouse Lautrec i. Illustration
b. Piet Mondrian ii. Logo
c. Mickey Patel iii. Design
d. SudarshanDheer iv. Poster
Codes:
a b c d
(A) iv iii i ii
(B) iii iv i ii
(C) iv iii ii i
(D) i ii iv iii
Ans: (A)
76. Assertion (A): Contemporary art is complex in nature.
Reason (R): Since it has grown out of mental environ of contemporary society where every individual has freedom of expression and his own sensibility.
(A) (A) is correct, (R) is not correct.
(B) (A) and (R) both are not correct.
(C) (A) and (R) both are correct.
(D) (A) is correct, (R) is partially correct.
Ans: (C)
77. Assertion (A): Etching prints can be made using metal plate or hard surface.
Reason (R): Etching is easily done without any technical support.
(A) (A) and (R) both are not correct.
(B) (A) is correct, (R) is not correct.
(C) (A) is correct, (R) is also correct.
(D) (A) is not correct, (R) is correct.
Ans: (B)
78. Assertion (A): In India print making movement took place during the end of 20th century.
Reason (R): It was an impact since many notable print makers from U.S.A. worked in India during that time.
(A) (A) and (R) both are correct.
(B) (A) is not correct, (R) is correct.
(C) (A) and (R) both are not correct.
(D) (A) is correct, (R) is not correct.
Ans: (A)
79. Assertion (A): Illustration of Hamzanama, in twelve volumes shows a dramatic treatment of events, broad handling, and bright expressive colours.
Reason (R): Akbar was a man of literary and fine aesthetic taste who admired to depict the adventures of Mir Hamza, an uncle of the Profet.
(A) (A) and (R) both are correct.
(B) (A) is not correct, (R) is correct.
(C) (A) and (R) both are not correct.
(D) (A) is correct, (R) is not correct.
Ans: (A)
80. Assertion (A): G. R. Santosh is considered as a Tantric Painter.
Reason (R): Since he hailed from Kashmir and practiced Yoga Tantra.
(A) (A) is correct, but (R) is partially correct.
(B) (A) and (R) both are correct.
(C) (A) is not correct but (R) is correct.
(D) (A) and (R) both are not correct.
Ans: (A)
81. Select the correct chronological sequence of the artists of Renaissance.
(A) Botticelli, Donato Bramante, Leonardo da Vinci, Masaccio
(B) Masaccio, Botticelli, Donato Bramante, Leonardo da Vinci
(C) Donato Bramante, Botticelli, Leonardo da Vinci, Masaccio
(D) Donato Bramante, Masaccio, Botticelli, Leonardo da Vinci
Ans: (A)
82. Select correct chronological sequence of Orissan temples.
(A) Parasuramesvara, Vaital Deul, Lingaraj, Sun Temple of Konark
(B) Vaital Deul, Parasuramesvara, Lingaraj, Sun Temple of Konark
(C) Parasuramesvara, Lingaraj, Vaital Deul, Sun Temple of Konark
(D) Lingaraj, Parasuramesvara, Vaital Deul, Sun Temple of Konark
Ans: (C)
83. Select the correct sequence of techniques in order as invented.
(A) Dry-point, Aquatint, Line Etching, Metal Engraving
(B) Line Etching, Dry-point, Metal Engraving, Aquatint
(C) Dry-point, Aquatint, Metal Engraving, Line Etching
(D) Dry-point, Metal Engraving, Line Etching, Aquatint
Ans: (D)
84. Select the correct sequence of material used in silk screen printing.
(A) Squeeze, Frame, Exposing table, printing table
(B) Exposing table, Printing table, Squeeze, Frame
(C) Frame, Exposing table, Printing table, Squeeze
(D) Squeeze, Frame, Printing table, exposing table
Ans: (C)
85. Select the correct sequence of factors affecting the client – agency relationship.
(A) Chemistry, Communication, Conduct, Changes
(B) Chemistry, Conduct, Changes, Communication
(C) Conduct, Chemistry, Communication, Changes
(D) Communication, Conduct, Changes, Chemistry
Ans: (A)
86. Select the correct sequence in order of maximum perceiving ability.
(A) Eye, Ear, Taste, Smell
(B) Smell, Taste, Eye, Ear
(C) Ear, Smell, Eye, Taste
(D) Eye, Ear, Smell, Taste
Ans: (D)
87. Select the correct chronological sequence of the artists.
(A) Hanson, Matisse, Delacroix, Brancusi
(B) Delacroix, Matisse, Brancusi, Hanson
(C) Delacroix, Brancusi, Matisse, Hanson
(D) Delacroix, Hanson, Matisse, Brancusi
Ans: (B)
88. Select the correct sequence of steps.
(A) Carving, Marquette, Drawing, Finishing
(B) Marquette, Drawing, Carving, Finishing
(C) Drawing, Finishing, Carving, Marquette
(D) Drawing, Marquette, Carving, Finishing
Ans: (D)
89. Select the correct chronological sequence of the paintings.
(A) Cave Monastery, Khilari, Brooding, Haldi Grinders
(B) Khilari, Cave Monastery, Haldi Grinders, Brooding
(C) Brooding, Haldi Grinders, Cave Monastery, Khilari
(D) Haldi grinders, Brooding, Khilari, Cave Monastery
Ans: (C)
90. Select the correct chronological sequence of the artist who worked on geometrical forms.
(A) Om Prakash, B. Khanna, G. R. Santosh, J. Swaminathan
(B) G. R. Santosh, Om Prakash, B. Khanna, J. Swaminathan
(C) B. Khanna, G. R. Santosh, J. Swaminathan, Om Prakash
(D) J. Swaminathan, G. R. Santosh, B. Khanna, Om Prakash
Ans: (D)
91. Match the following iconographical attributes to their respective deities:
(a) Ushnish (i) Vishnu
(b) Chakra (ii) Shiva
(c) Trishul (iii) Buddha
(d) Kamandala (iv) Bodhisattva Maitreya
Codes:
(a) (b) (c) (d)
(A) (i) (iv) (ii) (iii)
(B) (iv) (iii) (ii) (i)
(C) (ii) (i) (iii) (iv)
(D) (iii) (i) (ii) (iv)
Ans: (B)
92. Match the following sculptures to their respective sites:
(a) Ravan Shaking Mount Kailash (i) Lauriyanandan Garh
(b) Maheshmurti (ii) Kailashnath Temple, Ellora
(c) Gangaavataran (iii) Elephanta Caves
(d) Mauryan Bull Capital (iv) Mahabalipuram
Codes:
(a) (b) (c) (d)
(A) (ii) (iii) (iv) (i)
(B) (iii) (iv) (ii) (i)
(C) (i) (ii) (iii) (iv)
(D) (ii) (iii) (i) (iv)
Ans: (D)
93. Match the following:
(a) Jay Zharotia (i) Kolkata
(b) Laxma Goud (ii) Baroda
(c) Rini Dhumal (iii) Delhi
(d) Sanat Kar (iv) Hyderabad
Codes:
(a) (b) (c) (d)
(A) (i) (iii) (ii) (iv)
(B) (iii) (iv) (ii) (i)
(C) (iv) (i) (iii) (ii)
(D) (ii) (iii) (iv) (i)
Ans: (B)
94. Match the following:
(a) Jagmohan Chopra (i) Aquatint
(b) Prayag Jha Chillar (ii) Drawing with print impression
(c) Sanat Kar (iii) Collography
(d) Palani Appan (iv) Wood Intaglio
Code :
(a) (b) (c) (d)
(A) (ii) (iv) (iii) (i)
(B) (ii) (iii) (i) (iv)
(C) (iii) (i) (iv) (ii)
(D) (iv) (i) (ii) (iii)
Ans: (C)
95. Match the material with sculpture mediums.
(a) Carving (i) Clay
(b) Modelling (ii) Brass
(c) Casting (iii) Scrap metal
(d) Assemblage (iv) Stone
Codes:
(a) (b) (c) (d)
(A) (iv) (ii) (iii) (i)
(B) (ii) (i) (iii) (iv)
(C) (iv) (i) (ii) (iii)
(D) (i) (ii) (iii) (iv)
Ans: (C)
96. Match the following artists with their relevant creative works:
(a) Prodosh Das Gupta (i) Bird in Space
(b) Edgar Degas (ii) The Bull
(c) Constantin Brancusi (iii) little fourteen year old Dancer
(d) Raghav Kaneria (iv) In Bondage
Codes:
(a) (b) (c) (d)
(A) (iv) (i) (ii) (iii)
(B) (iv) (iii) (i) (ii)
(C) (ii) (iii) (iv) (i)
(D) (ii) (i) (iv) (iii)
Ans: (B)
97. Match the following:
(a) Donate Eyes (i) Amitabh Bachchan
(b) End Polio Now (ii) Aishwarya Rai
(c) Be a Vegetarian (iii) Amir Khan
(d) Atithi Devo Bhav (iv) Maneka Gandhi
Codes:
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (i) (iv) (iii) (ii)
(C) (iii) (ii) (iv) (i)
(D) (iv) (iii) (i) (ii)
Ans: (A)
98. Match the following:
(a) Maximum Point Size (i) Cypher
(b) Entangled Interlaced Initial (ii) 72 point
(c) Unit of Resolution (iii) Pictogram
(d) Pictorial /Illustrated Text (iv) DPI
Codes:
(a) (b) (c) (d)
(A) (i) (iv) (iii) (ii)
(B) (iii) (ii) (iv) (i)
(C) (i) (iii) (ii) (iv)
(D) (ii) (i) (iv) (iii)
Ans: (D)
99. Match the following terms with painting medium:
(a) Light to dark (i) Oil Painting
(b) Dark to light (ii) Water colour painting
(c) Pasting (iii) Graphic
(d) Etching (iv) Collage
Codes:
(a) (b) (c) (d)
(A) (ii) (i) (iv) (iii)
(B) (ii) (iv) (iii) (i)
(C) (ii) (iii) (iv) (i)
(D) (i) (ii) (iii) (iv)
Ans: (A)
100. Match the following artists with their places:
(a) Asit Kumar Haldar (i) Delhi
(b) B. C. Sanyal (ii) Baroda
(c) Ravindra Nath Tagore (iii) Lucknow
(d) N. S. Bendre (iv) Shantiniketan
Codes:
(a) (b) (c) (d)
(A) (i) (iii) (ii) (iv)
(B) (iii) (i) (iv) (ii)
(C) (iv) (ii) (i) (iii)
(D) (ii) (iv) (iii) (i)
Ans: (B)