These kinds of genres which have something of street realism were becoming the core of your teaching in a way in Baroda, or the part of your teaching which was most personal. Do you think, do you think that this had already been partly facilitated by KG Subramanyan’s own emphasis on the craft, something more nearer to the vernacular?

I am not sure about that. I don’t think that became part of my educational or pedagogical programme. I think what, I think Bhupen benefitted most from that, and I think he used it in his own work. He actually painted petty tradesmen a little later. I think it sort of gave it a new lease of life and people began to look at company painting in a different sort of way. My interest in that was academic, only basic, only up to a point. I think Subramanyan’s interest must be very different. I do not know about that.