The approach of the English towards Indian art played an important role in the development of the process of formal training of Indian artists so the English began to establish schools of art in major cities of India. One of the main reasons for opening art schools in India was that the British discovered that Indian artists had an insufficiency in scientific knowledge of art and were less capable of creating natural landscapes. Another reason was the demand for luxury Indian craftsmanship by the British public in the last decades of the 19th century, which became the main point of consideration for early policy makers. The industrial arts were perceived by the English to be in decline, because this mechanical institutes were opened to impart useful knowledge to the native craftsman. Initially the main focus of art schools was placed on the development of educational skills of professional and technical education. Following the recommendations of the select committee in 1835, art schools were established at various places in India. Art education was directly adopted from the European style. And this model and this educational policy have been bandied about for a long time. After some time they wanted to start an Indian artistic craft by imparting Western academic training to Indian artists, so gradually skilled drawing masters, draughtsmen and engravers were also recruited into these industrial schools. Sir Charles Mallet founded the first Western school in Pune in about 1790. . The main purpose of founding this school was to train local painters in European painting so that they could assist British artists. This school was run by James Wales but the school was closed after his death. In the initial phase of the beginning of art schools education...... middle of paper ...... accepted, particularly as exhibitions of works from Japan and China were also organised. Lord Kitchener of Fort William, Calcutta was the first president of the company. The two successive governors of Bengal, Lord Carmichael and Lord Ronaldshay, industrialists and civilians like Norman Blount, Edward Thirtan were the leading members, among the Indian members were AN Tagore, GN Tagore, Surendranath Tagore, artists Jamini Prakash Ganguly and the art critic O. C. Ganguly. The main objective of the society was to mount exhibitions of Indian art and hold discussions on art. In 1920, the Indian Society of Oriental Art published an art magazine under the editorship of OC Ganguly called “Rupam”. Orientalists still cheered Indian painting and “Rupam” promoted the works of art in the same way as “Prabasi” and “Modern Review” in previous decades..