At the inception of the thirties, a new movement in the domain of art was initiated by some young and talented artistes. These avant-garde artistes had initially constituted 'The Young Artistes Union'. Later they formed 'The Art Rebel Centre' which was more realistic and closer to material earth based on the occidental school of art. Some of the notable artistes of this clan were Gobardhan Ansh, Abani Sen, Annada Dey, Bhola Chattopaddhaya etc. They were not confined within the limitations of the academic art form. Instead, they derived inspiration from Paul Gaunga and Van Gokh and introduced a new form of painting.
Mukul Dey was another renowned painter in those days. He was a disciple of Abanindranath. In spite of that, he did not keep himself confined within the limitations of mythological and historical paintings. In the glorious thirties, this brilliant painter made exquisite paintings of contemporary life and society in the archetypal Shantiniketan style. His originality and subtle touches were particularly conspicuous in the printing art form. He and his successor Ramendranath Chakrabarty, the principal of the Government Art School, had learnt the technique of printing art from the Kala Bhavan at Shantiniketan. Later, both of them went abroad and attained perfection in this form of art. After coming back to India, they took charge of the Government Art School and started to teach the new modes of painting viz., etching, drypoint, wood-carving etc. Remarkable artistes like Muralidhar Tali, Adinath Mukhopaddhaya, Saifuddin, Haren Das etc. as well as the renowned graphic artiste Somnath Hode in later years, learnt the subtle techniques of Printing Art in this Government Art School. His preceptor was none other than Saifuddin. All these distinguished artistes had exclusive styles of their own. But their approach was very realistic and selections based on this material world. Their works mostly reveal factories, mines, the indigent people, labourers and the harsh pictures of life which we experience every day.
After the crisis of the late thirties, started the menace of the second World War. It had affected life in Calcutta quite adversely. The Nationalist Freedom Movement was getting intensified against British imperialism at that time. The latter was also making desperate attempts to resist the aggression of the alliance of Fascist Germany, Japan and Italy. During this ominous period of suspense and uncertainty, the unholy nexus of the British Government and bulk of the Indian business community, gave rise to the devastating famine of 1943. This was a savage blow for mankind when life in Bengal was shattered into shambles and moral values reached an abysmal low. At this crucial juncture, the poets and litterateurs came forward to rescue and resuscitate a sinking nation. They were ably supported in this noble task by the artistes. Notable artistes like Debi Prasad Roychowdhury, Atul Basu, Gobardhan Ansh, Gopal Ghosh etc. made sentient paintings of the starving rural folks coming to Calcutta in search of food and job. Nandalal Basu, Jamini Roy and artistes of their ilk stood out as rebels. They used their paintings as scathing protest against this menacing famine created by some unscrupulous men. However, Joynul Abedin and Chittaprasad Bhattacharya made the most authentic and sentient paintings of the famine. The latter was a devoted communist and a talented artiste as well. Their paintings will remain for ever as alibis of this disgraceful period in Indian history.