In India the emergency was a bruising colonialism that had become as intolerable to artists as to everyone else. From the official British Perspective, India had no living art. Its indigenous traditions were dead, the stuff of museums, and ethnological ones at that. Westem classicism was the only classicism; European offl painting was the only worthy medium. Indian artists had to learn it if they wanted careers, but even then their options were limited. Naturally some people, British and Indian alike, saw things another way. Ernest Binfield Havell, a British teacher and art historian did.
He recognized Indian art as the grand, ancient, still vibrant phenomenon it was. And as director of the Government School of Art in Calcutta, he encouraged Indian students to bring their own past, transformed, into the present. This mission really took fire, however, in a sorcle gathered around the Tagore family in Calcutta. One of its members, the artist Abanindranath Tagore, taught at the Government School and developed a type of painting based on Indian rather then Western models.

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