In this very period, Zainul Abedin, Quamrul Hasan and Kazi Abul Kashem adjoines with the blooming publication companies and illustratated books in their own techiques or mathods. Later, Zainul came out of that trend. 

Practice of institutional or urban art exercise of modernity in fine art began simultaneously in same time. In the all-Indian observation, modern art was introduced in late forties. Before this, preparation for getting modernity in  Calcutta-based Bengal or in all-Indian fine art was fulfilled in the hands of those, of  whom a major portion had already been started practice on Bangladesh-based fine art. 'Modernity' in Bangladeshi art was nourished by them. 

By '53, after establishing fine art institute in 1948, the artists of the very first generation completed their study-period. The generation of forties had developed a Calcutta-based modern environment in practice of fine art. By that flow, with the touch of western modern methods of art, the practice of all-Indian modern fine art gained, in the meantime, a distinct form in Calcutta. This tide also shacks this Bengal (then East Pakistan). Kibria from Calcutta and Joins as a teacher at Dhaka fine art Institute completing his studies from Calcutta Art School. In the same time, many of the students of first and second batch visited Calcutta. Before this, replicas from the paintings of Rabindranath Tagore, Gagonendranath Tagore, Jamini Roy, Zainul Abedin and different art copies of the European artists printed and published on "Probashi" and on other magazines created a pre-concept of modernization in art thoughts of the students of first generation of the fine art institute. 

Moreover, some positive situation and environment helped the students and played a vital influence on them to be modern-minded, namely well interaction with the contemporary literary personnel, scientists, political workers; direct or indirectly relation of both teachers and students with the banned East Bengal Communist party; positive advantage and environment of the families of those young student artists; art senses of the mass people of East Bengal through thousand years. 

Teachers and students of the institution, after establishing in 1948, involved themselves in the Language Movement (48-52). The stream of political and social consciousness regarding Bangladeshi fine art explored in the Banners, festoons and different cartoon-drawings around the Language Movement, 52. As created by immediate shortcoming emotions and then destroyed, there remains no opportunity to consider aesthetic values of those works presently. Some drawings by Murtaza Bashir based on the Language Movement have been found which are also important in aesthetic values. 

In the same time, practice of Dhaka-based literary activities and designing book covers came to limelight. As a result practices of graphic design and illustration started their journey. At the primary stage, the artists of the forties, mainly Zainul, Quamrul, Kazi Abul Quashem attended the entire duties. The young artists came to the stream after 1950. 

In 1951 Zainul, with the combination of cubist method and concept of folk art, painted "PAINAR MAA"(Paina's mother) which was the first modern artwork done on the earth of east Bengal. Until 59, this was the only and mainstream of modern fine art around this region. Still in the present days, the newer apprentices of fine art begin their practice on this very method. 
At the later period, Around 1956-'65, Aminul Islam (Florence), Murtaza Bashir (Florence), Abdur Razzak (USA), Kazi Abdul Bashet (Chicago), Rasheed Choudhury (Paris), Hamidur Rahman (UK), Novera Ahmed (UK) returns from abroad completing their studies and then they identified the vital problem in fine art of our country e.g. the European modernity. Their classmates, staying then in native country, Quaium Choudhury, Devdash Chakravarty, Syed Jahangir supports in it. 
In the mean time, Zainul, Shafiuddin, Kibria appeared in different courses in Japan and Europe and then returned. Afterwards, teachers and students divided the modern practice in Bangladeshi fine art in three styles: abstract, cubist form, and combination of cubist and folk forms. Later, practice of objective abstract art becomes the main artstream in Bangladesh. The social-economic condition also played an important role in spreading or expanding this objective-abstract art style in Bangladesh (then East Pakistan). In mentality of being Pakistani, there were hardly any prospects of marketing of figurative art or art of human and animal figure. As a result, because of pressure of insecurity in economics and furthermore, for neglected position of Bangladeshi artist in politics, they couldn't accept the Pakistani ideology in art e.g. Arabic calligraphy or traditional Islamic art. In the contrary, the Pakistani artists enriched their economic condition by the paintings and other artworks in favor of Pakistan and with the scope of social-political admiration. On the opposite side, the artists of Bengal accepted the contemporary Euro-American objective abstract style, which in the same way, gave them economic security and scope to oppose the Pakistani ideology. 
After practicing, searching and taking better education in fifties, the fine art of this region took a quality of aesthetic height in national and international ground in sixties. 
After Zainul, Quamrul is the grand and master art-personnel. Own society and own time in the drawings, oil paintings and works in water color created with the combination of cubism and folk art is deeply revealed/present by this late-forties painter. Pasts and presents of Bengal are clear in his works. Aesthetic quality in book illustration of Bangladesh became profoundly rich by touch of his hands. Especially in illustrating political subjects, folk stories and books of rhymes, He was the superior personality. To identify political features in fine art, His poster drawings, festoons caricatures etc. were very genius in aesthetic values. In 1972, the monstrous portrait of Yahia Khan named "AE JANOARDER HOTTA KORTE HABE" or the poster in 1988 named "DESH EKHON BISHWO BEHAYAR KHOPPARE" both are his immortal creation. In illustrating books, painting posters, drawing cartoon and caricatures, designing calendars and creating all other purified artistic works-- everywhere He was the topmost artist of Bangladesh till his death. His "KHEROKHATA" is a painted history of 47-88 Bengal. 
Shafiuddin Ahmed, One of the prominent painters of forties, having characteristics of grandeur height in aesthetic purity which was constructed with the combination of cubism and folk art in fifties. Afterwards it hastens leads towards abstract form but not wholly abstract. The printing art media, its impeaching and spreading broadens by his indomitable hard labor. 
Anwarul Haque of forties was an anxious searching artist. Almost in every form, he created some remarkable and wonderful works. 
Kazi Abul Quashem is the first Muslim painter of modern subcontinent. As an illustrator his contributions are same important in Calcutta in thirties and forties and then, Dhaka in late forties. He was a pioneer in children books illustration from mid forties to sixties. He was the only Muslim artist in Calcutta before India divides and in Dhaka after divission till Quamrul Hashan ariued. 
His Caricatures cartoous on language movement, Lividation of India, Establishment of Pakistan, Hindu-Muslim riot etc. were the main attractions of the newspapers of that time. 
Artist Kibria of late forties wished to work on cubism at the biginning. His style becomes objectine abstroct and changed in siktias. Pocte mode is the hery characteristies of his Paintings. Main credibitities of his works was to innovate sensation in using clors, He expresses his fulings, keen and subtle in mind, through using different color combination or color estimation taste tems. Kibria is the most influeucine painter in modern fine arts fields in Bangladesh. The other remarkable artists of that time are Khaja Shafique, Syed Shafiqul Amin, Syed Shafiqul Hossain and S.M. Sultan. 
Aminul Islam is the first Student of Dhaka Fine Art institute. Mainly he is an experimental artist. Thirst for the new and search forartistie purity is seen through his entire Artistice life. He is the first and most frilliant artist of Bangladesh in mural draw ings especially in mosaic mural. European Concept of purity is profoundly seen both in his cubism and absractism styles. 
Murtaza Bashir of fifties generation, on question of purity in practice of art, was hard and soul industrious. Unending searching, firmness in style, sharp and personified concepts about subjects are the artistic quality of his works. He had painted a series of paintings named ''DEYAL'' to express heart-rating situation of the beyond progressive administration of Aiyub Khan. This was the first compilation of purified abstract and metaphysical styles in the fine arts of this country (This exhibition is accused to be a manifesto in spreading the practice of abstract art in Bangladesh). His drawings can be compared with of Picaso. In painting mosaic wall paintings, he is the innovator of some new concepts in using medium and techniques. He wishes to collect his art elements and techniques from the whole world's art-heritages. 
Novera Ahmed is the first modernized personality in art & culture of Bangladesh. Our art-admirers at first came to discover, in her sculptures, the topmost quality of modernity, the primitive tastes. She and she is the first MODERN and leading female sculptor in Bangladesh. With compilation by synthesizing Folk forms, the sculptures of Stone Age and architectural forms, she gives specialty in her own forms. It can be understood observing the structural technique of the EKUSHER SHAHID MINAR (the memoir tomb of remembering the martyrs killed in the language movement of February 1952), the symbol of cultural movements in Bangladesh, created by her. In her concepts and imaginations for transferring the architectural structure of the temples and observatories of Stone Age into the symbol of mother, Novera rendered the struggles of Bengal into a struggle internationally. 
Hamidur Rahman, the another architect of SHAHID MINAR is the avant garde of modern wall painting (Fresco) in Bangladesh. Stylistic drawing is the important characteristic of his works. 
Rashid Choudhury develops/creates the folk livelihood of Bengal on his canvas in the cubist surrealistic form. He has introduced the method of tapestry and craft in our country. He is an erudite personality of this region as an organizer of art. The Chittagong Fine Art College and the department of fine art in Chittagong University have been established by his extreme labor. Establishing the Chittagong Fine Art College and the department of fine art in Chittagong University is an eminent incident for the artistic world of Bangladesh. The advent of second art center in Chittagong was irresistible due to the variety in contemporary art practice in Bangladesh. 
The paintings of Kazi Abdul Bashet repesent geometric texture, sculptural and lyrical tones. His non-objective paintings expose a sensation like Wileam DeCooning, Mark rothko, Jacson polok,s art work.Concept for indentifying the relationship between object and emptyness is recognized in works by Abdur Razzak. 
Abu Taher; Colors that reflect inner power of human life are represented as the metamorphosis in the abstract paintings of this painter of early sixties. Kazi Abdur Rouf and Shahtab, died prematurely, created a poetic chime in their paintings, combination of cubism and folk style. 
Painters of sixties mere enriched the abstract concept of fifties expressing excellence of methods and techniques. They developed their pictorial language in figure drawings using the style of a sort of Fobism. They paid more importance for personal insight or corner of view than techniques or searching aesthetic purity. 
Mahmudul Haque of sixties is the painter in abstract style that was introduced by Kibria. Poetic romanticism abounds in his pictures. In the etching aquatint media of graphic art, he is one of the great artists of Bangladesh. 
Monirul Islam was received warmly in the international ground of art for innovating new technique and keenness in etching aquatint media. Works of this painter, settled in Spain, are a sort of romantic, especially the submissions of abstract nostalgia for his hireling country. Giashuddin, living in Japan, created his calmative paintings in watercolor using lyrics of Rabindranath and many other cultural elements of Bengal as subjects. He is distinguished art-personnel of Japan or East Asia. The artistic philosophy of Shahid Kabir (lives in Spain) is sophisticated and directed/manipulated by the life-philosophy of LALON. Expressionism and reverse ism is seen in the contemporary works of this artist and art teacher, having concepts of ever youthfulness and new ideas; in this sense, he is the founder of neo-reverse ism. 
In the beginning, Abdus Sattar had eagerly tried to create modern paintings in watercolor of eastern method. Later, he had earned international fame by his works of graphic art in abstract style. An outstanding skill is seen in many landscapes on Dhaka City in fountain pen media by Golam Sarowar. Shamsul Islam Nizami is a painter of abstract style. 
Abul Bark Alvy is romantic works in abstract style. Discussion of powerfulness of this abstract artist pays an extra and isolated attention. He is the foretopman artist in the field of book illustration of Bangladesh. The nature and environment of Bangladesh has come most marvelously in his special book illustrations for children. 
Rafiqun Nabi wishes to move easily almost in every media. He has gained enormous fame by his stylistic and subject-based paintings. He awakens masculinity/vigor by variety of line in his illustrations as an illustrator. He is the first who has differentiated the distances or differences of illustration and basic/fundamental artwork. His cartoon-caricature and write-ups named TOKAI is the documentation of contemporary economic-social structure. 
The biggest credibility of Hashem Khan is to make attractive of the childish books by the touch of his illustration. In this field, he is a man of ever remembrance. For this, he could be treated as a responsible figure for the recent appearance of contemporary Bangladeshi art-concept. The younger generations becomes aquatinted with the concept of fine art having seen the drawings of Hashem Khan in the school text books and other childish books. He is also efficient in the creative trends of fine art like Quiyum Choudhury and Rafiqun Nabi. In this trend Pranesh Mandal and Shamarjit Roy Choudhury are remarkable painter of our time. The paintings of Pranesh Mandal are absorbed the naturalistic exposure while Shamarjit followed the abstract track. Except them, Abdur Rouf Sarkar, Ashem Ansari and Nasir Biswas had created some wonderful paintings and illustrations. 
After the disappearance of Novera Ahmed, the contribution of Anwar is     extremely important giving a new life in the practice of sculpture of our country. Especially, he is the pioneer in practicing and establishing wood-cut sculptures, the common element of our country. 
The later time of fine art is the time of mass movement of '69 and the time of liberation war in 1971. After the nine month's freedom fight, the joy of having an independent country and sorrowful pain of loosing nearest relatives are seen in the newly made paintings and sculptures which they had experienced with the influence of social and political changes caused by the liberation war. The younger artists of seventies have created paintings of joys and tale of glory. The same thing came to the artists of fifties and sixties as a symbol of loosing dearest relatives. 
Abdullah Khalid constructed an open-sky sculpture naming APARAJEYO BANGLA, the symbol of all movements and independence of Bangladesh. In the other side, Shahabuddin Ahmed painted the glorious tales of freedom fight of our country. The speeds and spirit in actions of the freedom fighters is expressed in his paintings. He raises/picked up the dense emotions and glorious struggle of freedom fight on his canvas in hard speedy strokes. 
Hamiduzzaman created huge number of environmental sculpture on the subject of liberation war of Bangladesh that are the artistic exploration of the freedom fight and in the same time, struggle and success in expansion of sculpture practice. His other sculptures are the geometric revealing of emotion. 
In Bangladeshi fine art period, the seventies are very prominent. The artists of fifties and sixties were bound to create abstract works in their imprisoned society. Painters of seventies felt no boundary. The painters of sixties wanted to get free of that imprisonment by their stylistic works but those were powerless and illustration-based. The young painters of seventies came over that self-devouring pessimism which were occurring in the abstract works of fifties. They conceived over whelming emotion, joy and independence in their abstract paintings. A K M Alamgir and Maruf Ahmed are in this trend. Hashi Chakravarty, Tandra Das, Naima Haque, Farida Zaman, Nurun Nahar Papa, Zakia Aziz, Biren Shom, Hamiduzzaman Khan, Mansurul Karim, Chandrashekhar Dey, Mominul Reza and Ranajit Das adjoins social consciousness in their abstract art style. 
In the paintings of Mansurul Karim, our heritage and contemporary comes along through abstractive and poetic compulsion. Hashi Chakravarty picked up social reality by using color, Stylistic drawing and with geometric division on canvas. In the paintings of Ranjit Das contemporary period arrives through the history of fine art. For example, to expose social position of female in our country, he brings up famous paintings and character from Angrey or Vinchi as an element of painting. Hanger or Clip becomes a symbol of contemporary reality in the paintings of Mominur Reza. kalidas Karmakar presents all Indian (Hindu, Buddhist, Muslim and folk) heredity in complex lines and in variety of technique skills in his printings (Etching & Colograph). At last, his works explored surrealistic essence and created a supernatural symbol to the spectacles 
Abdus Shakur conceives all significant signs of fifties and sixties. In a same way, styles of seventies also came in his paintings. At first, Tarun Ghosh created his paintings based on sheer social consciousness but afterwards he has searched folk heritage in abstract style through his paintings. In poster designs and illustrations he is an inventor of newer style. Mizanur Rahman, Shawpon Choudhury, Kazi Raqib, Masuda Kazi, Dipa Haq, Anwarul Haq Piaru, Mohammad Mohshin are the remarkable painters of this period. 
The art works of seventies can be divided in four trends: (1). The paintings on Freedom fight and of glorified tale of freedom fight; mainly the freedom fighters are the creator of these works. (2). Surrealistic paintings based on social conditions after-war. (3). Abstract arts. (4). Experimental works. 
If we look upon the paintings and trends of paintings, we'll see a huge number of female painters; and, they only, have nourished and practiced the experimental trends of seventies. Especially, the credibility of these female painters abounds in using unconventional media for paintings or avoiding general and conventional media and to innovate new techniques. 
Another important incident happened in fine art of seventies e.g. the re-advent of S.M. Sultan, the painter of forties. He returns after a long period of 20 years (from 56 to 77) with an exhibition by Bangladesh Shilpokala Academy. He is more and more an artist of Bengal with his vast and gigantic paintings of that time considering the subject selection and using media. A comment of Mr. Ahmad Shafa on Sultan's works is quotable: .... these paintings has come and born amidst the farmer society of Bengal in Nineteen Hundred Seventy seven directly, disconnecting from the conscious circle of Renaissance age without any kind of intervention. 
                                                             ----Bengali Mushalmaner Mon. 
The paintings of SM Sultan are such a degree and a level in modern art of Bangladesh that the solution between the prominent condition of locality and the international contradiction is possible by considering and analyzing those. 
Many talented painters of seventies were also efficient in illustration. Biren Shom paid most attention to the subtlety of poetry in his illustration on poetry books. Prematurely died Kazi Hasan Habib, tried to combine the art and poetry of Bangladesh. 
Of them, Shishir Bhattecharjee is boastful bold. He creates his drawings and paintings undertaking a keen control and dominion over aesthetic deviation and the volubility of economical, social and political matters. On the other hand, his mates took shelter of stylistic drawing or abstractivity. Shishir is the most popular painter of eighties and nineties. The subtle and keen intellectual message of his drawings and caricatures printed on the national Dailies picked him up to the highest popularity. He is very much able to add aesthetic chastity in his satiric drawings with artistic techniques and skills. By the subtlety of message and technical skills, he could only be compared with lurie, the most famous and renowned satirical painter of contemporary world. Shishir's caricature TUI RAZAKAR is very much important for its characteristic of drawing and political utility. He is also a pioneer of new ideas and concepts in book cover designing and illustration on poems of this period. Dhali Al Mamun, Nilufar Chaman, Dilara Begum Joly and Nishar Hossain explain their social conditions Combining the style of folk art and mythical characters. Nazly Laila Manshur represents social reality compiling realistic and surrealistic styles which gives a symptom of a new aesthetic source.