After his return to Bombay in 1966, Bendre moved away from abstraction and his brief interlude with Cubism. He began experimenting with his own version of Pointillism through the 1970's and 1980's where the image was built up from pixel like points of color. Throughout his career, his painting philosophy remained centered on depicting a unique visual experience as seen through the eyes of the artist. Whilst landscapes formed an important element of his work, emphasis was placed not on naturalistic representation, but on capturing the overall impression and emotions of the scene. "for me, the creative process begins with the blank canvas, by the dabbing of paint on it, the aim being to catch the original impact of the total image conceived." (R. Chatterji N. Bendre, Bendre: The Painter and the Person, Singapore, 1990, p. 63.)
Despite the distinct influence of Western painting techniques, Bendre's canvases are usually dominated by Indian subject matter. Women placed in comfortable rural settings and engaged in social activities or domestic tasks form a consistent theme for his work. This work from 1987 uses delicate colors to render a peaceful scene that combines these two favorite themes of the landscape and women.