Women artists of the 50’s do not show a uniform bent in their affiliation to these categories. Freny Behemenshah, Zainab Razvi and Ferozah Santukh draw more from nationalist art practices in late 40’s and early 50’s where in the craft was elevated to the status of art while, by mid 50’s Freny shifts to more modern Western ‘art’ sources such as post-impressionism, particularly Gauguin through Amrita-Sher-Gill. And her students Siddiqua Bilgrami, Zehra Rehmatullah, Fatima Ahmed, Dasrath Kumari Mathur, Urmila Shaw and Usha Shankar also did not wish to conform to academic realism ofthe curriculum and in their different ways took inspiration from Cezannesque post-impressionism. The progressive ideals and aspiration for the art to go ‘international’ can be evidenced in this phase of regional modern art among the women artists similar to very many of their male contemporaries