In the words of Ardhendu Ganguly, in 1833, after the end of Mula Ram, the last representative of the ancient tradition of North Indian painting, the Indian painting of the ancient tradition was almost omitted from yesterday. A new era in modern Indian painting began with the rise of King Ravi Varma of Travancore in South India in 1848. This budding art car turned its back on the natural expression of western painting art with diligence to express its new feelings by turning away from the ancient art tradition of India.
Raja Ravi Varma borrowed the system of expression of ancient Indian stories from Europe. The Indian psyche was well acquainted with these expressions. The Indian public knew these expressions well and began to enjoy them. But this method of expressions was not used. Ravi Varma did not take any advantage from the imagery presented by Catholics and Bharatanatyam and had unknowingly turned away from the grand expression of the mythological hero heroines. Therefore, the criticism of his paintings was justified despite being harsh.
Often, a particular pattern of European painting had been influenced by previous imitative realism on Indian painting art for two generations. To this effect from 18 66 Late. Avanindra Nath Tagore started challenging. In Indian painting art, Avni Babu started drawing according to Indian needs after studying the painting of other Asian countries. Chinese and Japanese paintings collected by Avni Babu brought such abstract elements with the help of which they formed a new style of Indian painting art. But the most important elements in this style were imported from Europe. He started a comprehensive study of various schools and institutions of European painting and adopted the principles of marking, drawing and color of the artists there. Which he considered beneficial for modern Indian painting without changing the basic form. It would be a mistake to explain that Avanindranath Tagore was a revival of modern Indian painting, but he was also a reformer and propagator of modern painting.
Adopting the quintessential features of the Mughal period miniatures, he gave life to that Mughal style, which was often limited to the repetition of ancient practices for half a century. Avanindranath Tagore has the power of imagination, selection of subjects and variety of styles that his art works cannot be classified under a key feature of omnibus vision. And it is not possible to put a label on their creations. The inexpensive tri-color copies of his paintings are not able to convey the mysterious joy of that line of lines and the mixing of colors, which is found in his original paintings.
The frescoes of the Kolkata School of Art, which have been made by the students there, seem to be heading in a new direction. Therefore, we can say that Avanindra Nath Tagore saved Indian painting from collapse by its efforts and also embodied it, due to which the style of Indian painting could occupy a higher position than other painting styles.