The Volume II takes up the story further, to cover the bulk of remaining schools of paintings beginning with Rajasthani and followed by Central Indian (Malwa, Orccha, Datia) and Mughal schools, which naturally formed self-contained chapters. Mehta had an eye for portraits which offered the opportunity to write on Indian artists’ competence in the genre of portraiture, and delve into the intricacies of dynastic histories. Paintings based on srngara literature in Sanskrit and Braj bhasa languages are elaborately interpreted.
ABOUT THE AUTHOR Ratan Parimoo
Prof. Ratan Parimoo is a noted art historian and critic and art teacher who has specialized in traditional and contemporary arts of India. He was Head of the Department of Art History & Aesthetics from 1966 to 1991 at the Maharaja Sayajirao University of Baroda. As a Commonwealth scholar, Prof. Parimoo studied History of European Art at the Courtauld Institute of Art, University of London (1960-63). He received the Rockfeller Grant to study in the USA in 1974. He was invited to participate in the twenty third World congress of the International Society of Education through Art, held in Autralia in 1968.He is the editor of the encyclopaedic critical anthology Creative Arts in Modern India. In 2010 he edited “Historical Development of Contemporary Indian Art 1880-1947.” His publications include Paintings of the three Tagores: Abanindranath, Gaganendranath and Rabindranath; Studies in Modern Indian Art; Sculptures of Sheshasayi Vishnu; and Essays on New Art History: Studies in Indian Sculpture. He is also an eminent painter.
There are no reviews yet.