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The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer? for CAT 2024 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer? covers all topics & solutions for CAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer?.

Solutions for The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.

Here you can find the meaning of The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer?, a detailed solution for The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer? has been provided alongside types of The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice The passage given below is followed by a set of questions. Choose the mostappropriate answer to each question.Raja Ravi Varmas name conjures a vision of an artist who was revolutionary in his contribution to Indian art. A popular and significant artist of his time, he was a prominent representative of Europeanised School of Indian artists. His oleographs of Indian divinities still survive in many homes and shrines and these kitsch prints are framed and sacredly worshipped for posterity. His works are also popular and visible in religious prints, calendars, posters, and other popular arts. Interestingly enough, in the last decade of the Twentieth Century, with changing perceptions and trends in collecting art, Ravi Varmas paintings have soared in the art collectors esteem. Even after a century he is still one of the most celebrated painters of India.Ravi Varmas life began in the small village of Killimanoor, 40 km to the North of Trivandrum in Kerala. Bom on 29th April 1848, he hailed from a princely family, very closely linked to the mling house of the former State of Travancore. Ravi Varma grew up in a traditional environment, learning Sanskrit, listening to the music of the Bhagavatas and watching the performances put up by the Kathakali Kurpe maintained by the family. His uncle, Raja Raja Varma, was an amateur artist who painted in the Tanjore style. Ravi Varmas mother, Uma Amba Bai Tampurathi was a poet and his father Ezhymavil Neelakantan Bhattatripad was a Sanskrit scholar. Therefore when Ravi Varma displayed his interest in painting, his uncle encouraged him with the initial lessons.Even as a boy of six he filled the walls of his home with pictures of animals and vignettes from his everyday life. In these scrawls and doodles, his uncle Raja Raja Varma, discovered the signs of a genius. Raja Varma gave his nephew all the lessons he knew but it was not adequate.At the age of thirteen, Ravi Varma was brought to the Palace at Trivandrum. Maharaja Ayilyam Tirunaal was impressed by the quality of Ravi Varmas artistic efforts and directed the young boy to stay in Trivandrum. Ravi Varma sought the guidance of the palace artist Ramaswami Naicker, who had mastered the European style of painting, and later from Theodore Jensen, a Dutch portrait painter who came to Travancore. But due to their own personal interests none of them helped much. But this merely strengthened Ravi Varmas resolve to master the art.For nine years Ravi Varma experimented with crude colours and different techniques. Despite the mediocre nature of the materials, his efforts were creditable. In his struggle to understand the principles of European art, he spent more time studying albums and the prints and paintings in the Travancore palace collection. Ravi Varma devoted all his time and energy in mastering painting as an art form and was encouraged by his uncle Raja Raja Varma as well as Maharaja Ayilyam Tirunaal.The year was 1870. A question that bothered him was whether he should take up art as a profession. Especially since artists were not important persons in higher societies he wondered if he had adequate skills to establish an identity as an artist. Nevertheless he decided to make a break with tradition when the ruler assured him that art was a great profession. To make an auspicious beginning he travelled by foot to Mookambika temple in South Canara district of Karnataka, to worship and gain the blessing of the goddess. On his way back he received the first paid commission to do a portrait of a family in Calicut.With the influence of the West, Ravi Varma, acquired new materials and new techniques, convinced of their power and serviceability. Through self-instruction and by the simple method of trial and error he learnt the art of mixing colours. He painted both portraits and landscapes and introduced new elements into Indian painting. For the first time in the annals of Indian art, he had mastered and introduced the principle of perspective, the usage of canvas and oil colours. He brought in a perfect blend of European Academic realism and the true spirit of the Indian context. What sustained him were his will to excel and his faith in Divine grace.His marriage, in 1866, to a girl of the Mavelikkara Kottaram Royal family and its social status brought him into contact with the British Resident at Trivandrum. It was the Resident who persuaded him to participate in the Fine Art Exhibition, Madras in 1873. His work titled A Nair Lady at her Toilet showing a pretty woman adoring her hair with a garland of jasmine was adjudged to be the best. Not only did he win the first prize Governors Gold Medal but was also granted an interview by the Governor Lord Hobart, who spoke encouragingly of his work, and advised him to persevere and make a name for himself. The Maharaja of Travancore feted him on his return to Trivandrum for bringing honour to the State. In the same year the painting was sent to an international exhibition at Vienna, where it was awarded a medal and a Certificate of Merit. And more importantly, this award received appreciative notices in the English dailies published from Madras, Bombay and Calcutta, thereby spreading Ravi Varmas reputation as an artist of merit to other parts of India.In 1874, Ravi Varma once again received the first prize at the Madras Exhibition for his painting titled A Tamil Lady Playing the Sarabat. The Maharaja of Travancore presented this prize-winning painting along with two other paintings, to the Prince of Wales, later King Edward VII, during the Princes visit to Madras in 1875. His majesty expressed his admiration of the works and said, for an artist who had no European training, the paintings were highly creditable.These paintings marked a big change not only in Ravi Varmas career but also in the entire span of Indian Art in the decades to follow.Q.Why was Raja Ravi Varma hesitant to take up art as a profession? 1) 3) : 4) a)He had received no training or help from Theodore Jensen and Ramaswami Naicker.b)The ruler had told him that art was not as great a profession as some others.c)His uncle, Raja Varma, had given his nephew all the lessons he knew but it was not adequate.d)Artists had little place in higher societies so he doubted his ability to establish himself.Correct answer is option 'D'. Can you explain this answer? tests, examples and also practice CAT tests.