||National Gallery of Modern Art, New Delhi
||Tempera on paper board
||Jamini Roy (1887-1972)
|Artist's Life Date / Bio Data
||Jamini Roy was one of the earliest and most significant modernists of twentieth century Indian art. From 1920 onwards his search for the essence of form led him to experiment with dramatically different visual style. His career spanning over nearly six decades had many significant turning points and his works collectively speak of the nature of his modernism and the prominent role he played in breaking away from the art practices of his time. Trained in the British academic style of painting in the early decades of the twentieth century, Jamini Roy became well-known as a skilful portraitist. He received regular commissions after he graduated from the Government Art School in what is now Kolkata, in 1916. The first three decades of the twentieth century saw a sea-change in cultural expressions in Bengal. The growing surge of the nationalist movement was prompting all kinds of experiments in literature and the visual arts. The Bengal School, founded by Abanindranath Tagore and Kala Bhavana in Santiniketan under Nandalal Bose rejected European naturalism and the use of oil as a medium and were exploring new ways of representation. Jamini Roy, too, consciously rejected the style he had mastered during his academic training and from the early 1920s searched for forms that stirred the innermost recesses of his being. He sought inspiration from sources as diverse as East Asian calligraphy, terracotta temple friezes, objects from folk arts and crafts traditions and the like. What was increasingly apparent from 1920 onwards was that Roy brought a joy and
||Signed 'Jamini Roy' in Bengali in the bottom-right corner of the painting with brush in red colour.
||36.5 X 70.5 cms.
||From the end 1920s, Jamini Roy rejected the European oil medium and began to use the traditional pigments from vegetable and mineral sources. The imagery was often drawn from village life. Jamini Roy invested in the portrayal of peasants, artisans, followers of religious cults, village women and adivasis with immense dignity. He represented in his paintings what they held sacred with references from folk tales and narratives that permeated the rural consciousness. In this particular painting, one of his most iconic, the three women depicted as they worship, have been painted with thick, black contour lines with the application of the blue colour of the drape done flatly.
||From the end 1920s, Jamini Roy rejected the European oil medium
and began to use traditional pigments from vegetable and mineral
sources and the imagery was drawn from village life. He invested
the peasants, artisans, followers of religious cults, village
women and adivasis with immense dignity. He represented in his
paintings what they held sacred. He painted from folk tales and
narratives that permeated the rural consciousness.