Exact Match
Woman Seated
Title Woman Seated
Museum Name National Gallery of Modern Art, New Delhi
Gallery Name NGMA-New Delhi
Object Type Painting
Main Material Tempera on paper
Main Artist Jamini Roy (1887-1972)
Artist's Nationality Indian
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
Country India
Dimensions 27.7 X 49.3 cms
Detailed Description From 1924 onwards, Jamini Roy experimented with a new idiom as he was looking for ways to simplify form. During this time his images for the most part became monochromatic bearing an austere play of white, soft grey and black. With a masterly control of the brush, he created contours of the form with fluid, calligraphic lines. Roy, during this phase painted seated female forms, mother and child figures, bauls, leaping deer, crawling infant. This painting is titled 'Woman Seated'. It is noteworthy that the artist has suggested volume to the seated figure with the supple contour line. Although a fleeting reference to Kalighat pats is made at a first glance, a careful look reveals that the idiom was entirely his own. His forms had a gravitas that was lacking in the Kalighat paintings. There is also a circular motif of a floral design at the top right corner. These alpona motifs or wall and floor motifs were incorporated frequently by Jamni Roy in his paintings.
Brief Description From 1924 onwards, Jamini Roy experimented with a new idiom as he was looking for ways to simplify form. During this time his images for the most part became monochromatic bearing an austere play of white, soft grey and black. With a masterly control of the brush, he created contours of the form with fluid, calligraphic lines. Roy, during this phase painted seated female forms, mother and child figures, bauls, leaping deer, crawling infant. This painting is titled 'Woman Seated'. It is noteworthy that the artist has suggested volume to the seated figure with the supple contour line. Although a fleeting reference to Kalighat pats is made at a first glance, a careful look reveals that the idiom was entirely his own. His forms had a gravitas that was lacking in the Kalighat paintings. There is also a circular motif of a floral design at the top right corner. These alpona motifs or wall and floor motifs were incorporated frequently by Jamni Roy in his paintings.