Nirmal Dutta was obsessed by the beauties of nature from his early childhood. Later, this passion for nature has found expression through his line and colour. It would be perceived if we look back to his earlier paintings on Rajgir (1965), Gwalior (1970) and Benaras (1993) etc.

Recently, Nirmal Dutta took delight to manifest his impression on the landscape of Bengal. Bengal is a land abounding with many rivers and green with corn. Its unique landscape with placid greenery became the subject matter of his paintings. Beside many mute moments of nature, men and architecture of the place are also rediscovered. Romance and lyric mingle in his creation, chemically not mechanically, expressing immense joy. In fact, artist has explored the nature's beauty as an antiquarian which is often done by poets too.

The essential frameworks of the paintings are developed by the balanced synthesis of oriental and occidental art, capturing relevant details with little distortion. These are not the true copy of the reality but the creative interpretation of reality. The paintings are in combination of light green, yellow, black and white with mild effect of emotion and redolence of the soil of Bengal. Inspite of his serious ailing health Nirmal Dutta continues to journey on his aesthetic voyage rather than bother about the destination.

The Bengal School has play a significant role during the stagnant period of the Indian art. The art genre of this school was originated by Abanindranath Tagore (1871 - 1951) and was widely spread through his disciples and their successors. A student of Govt. College of Art & Craft, kolkata. Mrs. Nilima Duta (born 1934) is one of the successful torch bearers of such an outstanding art form.

Her first encounter with the paintings of Bengal School was through the renowned Bengali Magazine "Bharatvarsa" and "Prabasi". The prime source of her inspiration to paint was after seeing printed colour artworks of Nandalal Bose (1883 - 1966) in the aforesaid magazines. In the quest to discover her self visual vocabulary she experimented with various art forms, but ultimately became engrossed with the aesthetic understanding of the great master Nandalal Bose and that become a perpetual source of inspiration to her in the making of a new visual art form with her own understanding.

In the first phase of her creative adventure she hah executed many excellent spot drawings in pen n ink as well as monochrome water colour on paper. Few of them are on view in the exhibitions. Landscapes of those categories are more or less the synthesis of Indian and Western art. In the next stage, simple hearted human figures are emphasized, the foundation of which are based on the tradition of Bengal School. In the successive development, unions of many human figures are composed on the background of beautiful nature of strong built architectures. Figures are bounded by lively moving rhythmic lines and illustrating many small details of the episodes from the Indian mythology. The use of soft, vibrant, rich tempera colours created graceful atmosphere and romantic emotional feelings. These linear delightful expressions are essentially Indian and show the distinctive style of the artist.