Name of the painter “Relief Lucknow”associated with the Revolt of 1857 is ?->(Show Answer!)

1. Name of the painter “Relief Lucknow”associated with the Revolt of 1857 is

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MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
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MCQ->Name of the painter “Relief Lucknow”associated with the Revolt of 1857 is....

MCQ-> Read the following passage carefully and answer the question given below it. Certain words have been printed in bold to help you locate them while answering some of the questions.Agriculture has always been celebrated as the primary sector in India. Thanks to the Green Revolution, India is now self-sufficient in food production. Indian agriculture has been making technological advancement as well. Does that mean everything is looking bright for Indian agriculture ? A superficial analysis of the above points would tempt one to say yes, but the truth is far from it. The reality is that Indian farmers have to face extreme poverty and financial crisis, which is driving them to suicides. What are the grave adversities that drive the farmers to commit suicide, at a time when Indian economy is supposed to be gearing up to take on the world ?Indian agriculture is predominantly dependent on nature. Irrigation facilities that are currently available, do not cover the entire cultivable land. If the farmers are at the mercy of monsoons for timely water for their crops, they are at the mercy of the government for alternative irrigation facilities. Any failure of nature, directly affects the fortunes of the farmers. Secondly, Indian agriculture is largely an unorganized sector, there is no systematic planning in cultivation, farmers work on lands of uneconomical sizes, institutional finances are not available and minimum purchase prices of the government do not in reality reach the poorest farmer. Added to this, the cost of agricultural inputs have been steadily rising over the years, farmers’ margins of profits have been narrowing because the price rise in inputs is not complemented by an increase in the purchase price of the agricultural produce. Even today, in several parts of the country, agriculture is a seasonal occupation. In many districts, farmers get only one crop per year and for the remaining part of the year, they find it difficult to make both ends meet.The farmers normally resort to borrowing from money lenders, in the absence of institutionalized finance. Where institutional finance is available, the ordinary farmer does not have a chance of availing it because of the “procedures” involved in disbursing the finance. This calls for removing the elaborate formalities for obtaining the loans. The institutional finance, where available is mostly availed by the medium or large land owners, the small farmers do not even have the awareness of the existence of such facilities. The money lender is the only source of finance to the farmers. Should the crops fail, the farmers fall into a debt trap and crop failures piled up over the years give them no other option than ending their lives.Another disturbing trend has been observed where farmers commit suicide or deliberately kill a family member in order to avail relief and benefits announced by the government to support the families of those who have committed suicide so that their families could at least benefit from the Government’s relief programmes. What then needs to be done to prevent this sad state of affairs ? There cannot be one single solution to end the woes of farmers.Temporary measures through monetary relief would not be the solution. The governmental efforts should be targeted at improving the entire structure of the small wherein the relief is not given on a drought to drought basis, rather they are taught to overcome their difficulties through their own skills and capabilities. Social responsibility also goes a long way to help the farmers. General public, NGOs, Corporate and other organizations too can play a part in helping farmers by adopting drought affected villages and families and helping them to rehabilitate.The nation has to realize that farmers’ suicides are not minor issues happening in remote parts of a few states, it is a reflection of the true state of the basis of our economy.What does the author mean by “procedures” when he says that ‘farmers do not get a chance of availing institutional finance because of procedures involved in it’ ?
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