The document discusses several British artists who traveled to India in the late 18th century, including Tilly Kettle and William Hodges. It also discusses the Daniells (Thomas and William), who traveled extensively throughout India between 1786-1793, producing detailed etchings and paintings of landscapes and architecture. Many of these artists gained patronage from prominent British figures in India and went on to exhibit their works documenting India at the Royal Academy in London.
The document discusses the evolution of visual arts in colonial India from the 18th century onwards. It notes that European artists introduced new styles of oil painting and depicted India as wild and untamed. Portrait painting of British and Indian elites also became popular. Later, "history paintings" dramatized British imperial victories. In the 19th century, popular art forms like Kalighat paintings emerged, sometimes expressing nationalist ideas. Artists like Raja Ravi Varma and Abanindranath Tagore tried combining Western techniques with Indian themes to create a distinctive national style of painting. The document contains 15 figures of different paintings to illustrate its points.
The document provides information on several English painters from the 16th to 19th centuries. It discusses Nicholas Hilliard, the most celebrated English miniaturist of the Elizabethan era. It then profiles William Hogarth, an 18th century artist who pioneered serial work and was a critic of English art. Next, it outlines Sir Joshua Reynolds as a leading English portrait painter and first president of the Royal Academy. The document also summarizes Thomas Gainsborough and his landscape and portrait works, as well as Joseph Mallord William Turner's contributions to romantic landscape painting. Finally, it discusses John Constable and his recognition as a major 19th century English landscape artist, known for paintings of scenes from his childhood.
This document summarizes an artwork by Yinka Shonibare titled "Sleep of Reason Produces Monsters: Design" which references Francisco Goya's famous print "The Sleep of Reason Produces Monsters." Shonibare recreated Goya's print nearly exactly but in large scale color photographs and added his choice of Dutch wax cloth for the main figure's clothing. Goya's print depicted a man asleep at a desk surrounded by threatening creatures and commented on the dangers of ignorance. Both works reference the phrase "the sleep of reason produces monsters."
Company style paintings blended Indian and European artistic traditions. They were produced in India under European patronage in the 18th-19th centuries. The style combined traditional Rajput and Mughal techniques with Western perspective and realism. Most paintings were small miniatures, though natural history works were life-sized. Major centers included cities with British settlements. Famous works include the Delhi Book and Fraser Album, which documented Mughal court life. Paintings were typically created on paper for albums in a hybrid Indo-European style.
From Miniature to Modern : Traditions in Transition IIewilkinson
Presented by E W Art - Los Angeles, Pundole Art Gallery - Mumbai, Rob Dean Art - London,
This exhibition highlights the changing styles of painting that existed in India over a period of more than three hundred years focusing on works on paper. The paintings reveal a constant evolution of styles and formats that depended on both the whims of patrons and the personal genius of the individual artist.
Preview EW Art Los Angeles: 21st September, 2010 6pm - 9 pm
View: 22nd September - 15th October, 2010
Gallery Hours: Mon – Sat 10am – 6 pm, or by appointment.
EW Art Gallery, 1 West California Blvd, Pasadena, CA 91105, USA
European artists in the 18th century brought new styles of visual art to India under British rule, including techniques like oil painting that enabled realistic depictions. Two popular traditions were picturesque landscape painting that depicted India's scenery for British audiences, and portrait painting of the wealthy and powerful. A third genre called "history painting" dramatized episodes of British imperial history. Meanwhile, local court artists adapted to the new styles while some rulers like Tipu Sultan resisted and promoted traditional miniature painting. In the 19th century, popular art forms like scroll painting emerged in cities and pilgrimage centers. Later artists sought a visual style that was both modern and distinctly Indian.
Sir Joshua Reynolds was an influential 18th century English painter who specialized in portraits. He helped found the Royal Academy of Arts and served as its first president. Reynolds promoted the "Grand Style" of painting, which relied on idealizing imperfect subjects. He was skilled at capturing the innocence of children in his portraits. As a renowned portrait artist, Reynolds socialized with wealthy and famous men and women of his time and brought together influential figures in a club that met weekly.
Sir Joshua Reynolds was an influential 18th century English painter who specialized in portraits. He helped found the Royal Academy of Arts and served as its first president. Reynolds promoted the "Grand Style" of painting, which relied on idealizing imperfect subjects. He was known for his portraits of wealthy and famous men and women of his time. Reynolds also emphasized the innocence and natural grace of children in his portraits of them.
The document discusses the evolution of visual arts in colonial India from the 18th century onwards. It notes that European artists introduced new styles of oil painting and depicted India as wild and untamed. Portrait painting of British and Indian elites also became popular. Later, "history paintings" dramatized British imperial victories. In the 19th century, popular art forms like Kalighat paintings emerged, sometimes expressing nationalist ideas. Artists like Raja Ravi Varma and Abanindranath Tagore tried combining Western techniques with Indian themes to create a distinctive national style of painting. The document contains 15 figures of different paintings to illustrate its points.
The document provides information on several English painters from the 16th to 19th centuries. It discusses Nicholas Hilliard, the most celebrated English miniaturist of the Elizabethan era. It then profiles William Hogarth, an 18th century artist who pioneered serial work and was a critic of English art. Next, it outlines Sir Joshua Reynolds as a leading English portrait painter and first president of the Royal Academy. The document also summarizes Thomas Gainsborough and his landscape and portrait works, as well as Joseph Mallord William Turner's contributions to romantic landscape painting. Finally, it discusses John Constable and his recognition as a major 19th century English landscape artist, known for paintings of scenes from his childhood.
This document summarizes an artwork by Yinka Shonibare titled "Sleep of Reason Produces Monsters: Design" which references Francisco Goya's famous print "The Sleep of Reason Produces Monsters." Shonibare recreated Goya's print nearly exactly but in large scale color photographs and added his choice of Dutch wax cloth for the main figure's clothing. Goya's print depicted a man asleep at a desk surrounded by threatening creatures and commented on the dangers of ignorance. Both works reference the phrase "the sleep of reason produces monsters."
Company style paintings blended Indian and European artistic traditions. They were produced in India under European patronage in the 18th-19th centuries. The style combined traditional Rajput and Mughal techniques with Western perspective and realism. Most paintings were small miniatures, though natural history works were life-sized. Major centers included cities with British settlements. Famous works include the Delhi Book and Fraser Album, which documented Mughal court life. Paintings were typically created on paper for albums in a hybrid Indo-European style.
From Miniature to Modern : Traditions in Transition IIewilkinson
Presented by E W Art - Los Angeles, Pundole Art Gallery - Mumbai, Rob Dean Art - London,
This exhibition highlights the changing styles of painting that existed in India over a period of more than three hundred years focusing on works on paper. The paintings reveal a constant evolution of styles and formats that depended on both the whims of patrons and the personal genius of the individual artist.
Preview EW Art Los Angeles: 21st September, 2010 6pm - 9 pm
View: 22nd September - 15th October, 2010
Gallery Hours: Mon – Sat 10am – 6 pm, or by appointment.
EW Art Gallery, 1 West California Blvd, Pasadena, CA 91105, USA
European artists in the 18th century brought new styles of visual art to India under British rule, including techniques like oil painting that enabled realistic depictions. Two popular traditions were picturesque landscape painting that depicted India's scenery for British audiences, and portrait painting of the wealthy and powerful. A third genre called "history painting" dramatized episodes of British imperial history. Meanwhile, local court artists adapted to the new styles while some rulers like Tipu Sultan resisted and promoted traditional miniature painting. In the 19th century, popular art forms like scroll painting emerged in cities and pilgrimage centers. Later artists sought a visual style that was both modern and distinctly Indian.
Sir Joshua Reynolds was an influential 18th century English painter who specialized in portraits. He helped found the Royal Academy of Arts and served as its first president. Reynolds promoted the "Grand Style" of painting, which relied on idealizing imperfect subjects. He was skilled at capturing the innocence of children in his portraits. As a renowned portrait artist, Reynolds socialized with wealthy and famous men and women of his time and brought together influential figures in a club that met weekly.
Sir Joshua Reynolds was an influential 18th century English painter who specialized in portraits. He helped found the Royal Academy of Arts and served as its first president. Reynolds promoted the "Grand Style" of painting, which relied on idealizing imperfect subjects. He was known for his portraits of wealthy and famous men and women of his time. Reynolds also emphasized the innocence and natural grace of children in his portraits of them.
This document provides an overview of literature during the English Renaissance period. It discusses the key characteristics of Renaissance literature, including an emphasis on humanism. It examines the developments in drama, poetry, and prose during this time. Specifically, it outlines the achievements of famous Renaissance dramatists like Shakespeare and Marlowe, poets like Sidney and Spenser, and prose writers such as Lyly. It also provides brief biographies of some of the major literary figures of the period.
This document provides an overview of Company School paintings created in India during British colonial rule between the 18th and 19th centuries. It discusses how British patrons commissioned Indian artists to depict scenes of everyday life, occupations, ceremonies, and wildlife. The paintings combined Western techniques like linear perspective with traditional Indian styles of miniature painting. Company paintings serve as valuable historical records of colonial India and helped spread images of Indian culture to European audiences. The document concludes with descriptions and analyses of 12 examples of Company paintings showcasing various subjects and styles.
This document discusses several famous English painters from the 18th and 19th centuries. It provides biographical information on William Hogarth, Sir Joshua Reynolds, Thomas Gainsborough, J.M.W. Turner, and John Constable. It notes that Turner and Constable were considered the greatest representatives of the English Golden age of painting and were renowned landscape painters, with Turner known for his mastery of light and Constable known for his pastoral scenes of Dedham Vale.
This document provides biographical information about two artists:
1) Sohrab Sepehri, an Iranian poet and painter considered one of the pioneers of modern Persian poetry. He was influenced by Buddhism and Western art and incorporated these styles into his poetry and paintings.
2) Joseph Mallord William Turner, an influential English landscape painter known for his use of light, color, and atmospheric effects. The document outlines his early life and training, rise to fame with paintings like "Fishermen at Sea", influential style of painting landscapes and seascapes, and eccentric personality in his later years.
by Aayushi Shrimali And Akanksha Manna (University of Delhi) (kalindi college)History Hons /3rd year
origin
background
jahangir
shahjahan
later mughal school ,prominent painters and influences
The document provides information on several art objects from different museums:
- A painted limestone relief from ancient Egypt depicting King's son Wepemnofret that demonstrates his elite status through his clothing, accessories, and the offerings listed on the stela.
- A marble head fragment from ancient Rome showing a man with his right eye closed that was crafted in an "impressionist" style popular in its time period.
- A glazed ceramic figurine from China of a drummer on horseback that reflects cultural influences from Central Asia following the Han dynasty's fall.
This document provides biographical information about two artists: Melchior d'Hondecoeter and Franz Marc.
Melchior d'Hondecoeter was a 17th century Dutch painter known for his paintings of birds in landscapes. He came from a family of artists and painted exotic birds throughout his career. Franz Marc was a 20th century German painter and was one of the founders of the Der Blaue Reiter art movement. He incorporated vivid colors and spiritual themes in his paintings of animals. Tragically, Franz Marc died in World War I at the age of 36, but not before creating influential Expressionist works.
Joseph Mallord William Turner was an English Romantic landscape painter, watercolourist and printmaker in the late 18th and early 19th centuries. He is renowned for his oil paintings and is considered a master of British watercolor landscape painting. His style was characterized by atmospheric washes of paint and an innovative use of color and light. In his later works, objects were barely recognizable as he focused on conveying light, atmosphere, and mood.
The Restoration period in England from 1660-1700 saw the restoration of the monarchy and influence from French styles of writing. John Dryden emerged as the dominant writer of the period. Literature reflected the moral laxity of society through forms like satire, fables, and comedies of manners that focused on city life and fashion. Prose also developed into a clearer modern style during this time of rational inquiry led by writers like Dryden and Bunyan.
Rembrandt van Rijn (1606-69) was born in Leydon, Holland, the son of a miller. He spent a year at Leyden University. Later he set up shop in Leyton and became a follower of Caravaggio. His earlier known works known to us are dated in 1626. His paintings is well-known for the contrast between light and darkness, just as Caravaggio. After he became famous his works were sought after all over Europe. Rembrandt flourished and spent a fortune acquiring artistic curiosities.
This document provides an overview of Spanish literature from the troubadours to the works of Luis Ponce de Leon, Juan de la Cruz, and Teresa of Avila. It discusses early epics like El Cantar de Mio Cid and the works of chivalry. It then focuses on the biographies and major writings of Luis Ponce de Leon, Juan de la Cruz, and Teresa of Avila, all important figures in religious poetry during the Spanish golden age.
Baroque period ( history & style) duskyrose 29Malou Alipio
The Baroque period saw flourishing of the arts like painting, music, architecture and literature between 1600-1750. Gian Lorenzo Bernini transformed an open space near St. Peter's Basilica into an impressive approach to the church using structures like a gilded bronze chair believed to be used by St. Peter. Michelangelo Merisi da Caravaggio was a leading painter who used realistic figures and dramatic lighting. The Romantic period emphasized emotion and nature, seen in the works of Theodore Gericault who used social themes and Caspar David Friedrich who showed humanity's insignificance compared to nature.
William Shakespeare was an English poet and playwright born in 1564 in Stratford-upon-Avon. He wrote 38 plays, 154 sonnets, and several other poems. While the details of his early life are unknown, it is believed he was educated at the King's New School. His plays were popular among nobility and the public during the Renaissance in England, a period of artistic and intellectual revival. Shakespeare drew inspiration from nature, classical authors, and contemporary English society and politics for his works.
Romanticism was an aesthetic and intellectual movement that emphasized nature, emotion, and individualism. It revolted against order and rationalism and occurred in the late 18th and early 19th centuries. Some key figures that heralded Romanticism included Napoleon, William Blake, and Friedrich. Romantic art and literature featured more emotional expressions and themes of nature, the sublime, and the exotic.
Jahangir was the fourth Mughal Emperor who ruled from 1605 until his death in 1627. He was fascinated with art, science and architecture, and wrote an autobiography. The Mughal painting reached great heights under his reign as he was interested in documenting animals and plants. Some of the most highly regarded Mughal architecture from his time includes the Shalimar Gardens in Kashmir. He died on his way back from Kashmir to Lahore in 1627.
This document provides an overview of 18th century English literature, focusing on major authors and works from the period known as the Age of Samuel Johnson. It discusses Johnson's influential contributions as a poet, essayist, and lexicographer. It also summarizes the works and significance of three major Irish authors from the period: Oliver Goldsmith, Richard Brinsley Sheridan, and Laurence Sterne. Additionally, it examines the rise of sentimentalism in 18th century poetry and prose fiction.
William Shakespeare (1564-1616) was an English poet, playwright, and actor considered the greatest writer in the English language. He wrote 38 plays and 154 sonnets over the course of his career. Some of his most famous works include Romeo and Juliet, Hamlet, Macbeth, and A Midsummer Night's Dream. He was born in Stratford-upon-Avon and later moved to London where he began his career as an actor and playwright, working with the Lord Chamberlain's Men theatrical company.
The English language has developed over 1,400 years from Old English dialects brought by Anglo-Saxon settlers to Britain in the 5th century. Middle English emerged after the Norman conquest in the late 11th century. Early modern English began in the late 15th century with the introduction of the printing press. Old English literature included genres such as epic poetry, hagiography, sermons, and chronicles. After the Norman conquest in 1066, French became the standard language and Old English underwent a transition to Middle English under Norman influence. In the Middle Ages, mystery and miracle plays emerged from liturgical enactments and evolved into Elizabethan drama. The English Renaissance began in the late 15th century and the Elizabethan era was its
This document provides an overview of the Mannerism art movement including its key characteristics and two prominent artists, Parmigianino and Jacopo Tintoretto. Mannerism arose in the 16th century as a transition between Renaissance elegance and Baroque theatricality. It is characterized by elongated figures, artificial poses, and ornate decoration. Parmigianino was renowned for his sensual and elongated figures as seen in works like Madonna with Long Neck. Tintoretto blended Mannerist styles with dramatic lighting effects, as in his Last Supper which contrasts spiritual and earthly realms.
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This document provides an overview of literature during the English Renaissance period. It discusses the key characteristics of Renaissance literature, including an emphasis on humanism. It examines the developments in drama, poetry, and prose during this time. Specifically, it outlines the achievements of famous Renaissance dramatists like Shakespeare and Marlowe, poets like Sidney and Spenser, and prose writers such as Lyly. It also provides brief biographies of some of the major literary figures of the period.
This document provides an overview of Company School paintings created in India during British colonial rule between the 18th and 19th centuries. It discusses how British patrons commissioned Indian artists to depict scenes of everyday life, occupations, ceremonies, and wildlife. The paintings combined Western techniques like linear perspective with traditional Indian styles of miniature painting. Company paintings serve as valuable historical records of colonial India and helped spread images of Indian culture to European audiences. The document concludes with descriptions and analyses of 12 examples of Company paintings showcasing various subjects and styles.
This document discusses several famous English painters from the 18th and 19th centuries. It provides biographical information on William Hogarth, Sir Joshua Reynolds, Thomas Gainsborough, J.M.W. Turner, and John Constable. It notes that Turner and Constable were considered the greatest representatives of the English Golden age of painting and were renowned landscape painters, with Turner known for his mastery of light and Constable known for his pastoral scenes of Dedham Vale.
This document provides biographical information about two artists:
1) Sohrab Sepehri, an Iranian poet and painter considered one of the pioneers of modern Persian poetry. He was influenced by Buddhism and Western art and incorporated these styles into his poetry and paintings.
2) Joseph Mallord William Turner, an influential English landscape painter known for his use of light, color, and atmospheric effects. The document outlines his early life and training, rise to fame with paintings like "Fishermen at Sea", influential style of painting landscapes and seascapes, and eccentric personality in his later years.
by Aayushi Shrimali And Akanksha Manna (University of Delhi) (kalindi college)History Hons /3rd year
origin
background
jahangir
shahjahan
later mughal school ,prominent painters and influences
The document provides information on several art objects from different museums:
- A painted limestone relief from ancient Egypt depicting King's son Wepemnofret that demonstrates his elite status through his clothing, accessories, and the offerings listed on the stela.
- A marble head fragment from ancient Rome showing a man with his right eye closed that was crafted in an "impressionist" style popular in its time period.
- A glazed ceramic figurine from China of a drummer on horseback that reflects cultural influences from Central Asia following the Han dynasty's fall.
This document provides biographical information about two artists: Melchior d'Hondecoeter and Franz Marc.
Melchior d'Hondecoeter was a 17th century Dutch painter known for his paintings of birds in landscapes. He came from a family of artists and painted exotic birds throughout his career. Franz Marc was a 20th century German painter and was one of the founders of the Der Blaue Reiter art movement. He incorporated vivid colors and spiritual themes in his paintings of animals. Tragically, Franz Marc died in World War I at the age of 36, but not before creating influential Expressionist works.
Joseph Mallord William Turner was an English Romantic landscape painter, watercolourist and printmaker in the late 18th and early 19th centuries. He is renowned for his oil paintings and is considered a master of British watercolor landscape painting. His style was characterized by atmospheric washes of paint and an innovative use of color and light. In his later works, objects were barely recognizable as he focused on conveying light, atmosphere, and mood.
The Restoration period in England from 1660-1700 saw the restoration of the monarchy and influence from French styles of writing. John Dryden emerged as the dominant writer of the period. Literature reflected the moral laxity of society through forms like satire, fables, and comedies of manners that focused on city life and fashion. Prose also developed into a clearer modern style during this time of rational inquiry led by writers like Dryden and Bunyan.
Rembrandt van Rijn (1606-69) was born in Leydon, Holland, the son of a miller. He spent a year at Leyden University. Later he set up shop in Leyton and became a follower of Caravaggio. His earlier known works known to us are dated in 1626. His paintings is well-known for the contrast between light and darkness, just as Caravaggio. After he became famous his works were sought after all over Europe. Rembrandt flourished and spent a fortune acquiring artistic curiosities.
This document provides an overview of Spanish literature from the troubadours to the works of Luis Ponce de Leon, Juan de la Cruz, and Teresa of Avila. It discusses early epics like El Cantar de Mio Cid and the works of chivalry. It then focuses on the biographies and major writings of Luis Ponce de Leon, Juan de la Cruz, and Teresa of Avila, all important figures in religious poetry during the Spanish golden age.
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Jahangir was the fourth Mughal Emperor who ruled from 1605 until his death in 1627. He was fascinated with art, science and architecture, and wrote an autobiography. The Mughal painting reached great heights under his reign as he was interested in documenting animals and plants. Some of the most highly regarded Mughal architecture from his time includes the Shalimar Gardens in Kashmir. He died on his way back from Kashmir to Lahore in 1627.
This document provides an overview of 18th century English literature, focusing on major authors and works from the period known as the Age of Samuel Johnson. It discusses Johnson's influential contributions as a poet, essayist, and lexicographer. It also summarizes the works and significance of three major Irish authors from the period: Oliver Goldsmith, Richard Brinsley Sheridan, and Laurence Sterne. Additionally, it examines the rise of sentimentalism in 18th century poetry and prose fiction.
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S.H. Raza was an influential Indian artist known for his minimalist geometric shapes and use of vibrant color. He explored themes of nature, primal energy, triangles, and circles/dots in his work. Raza's most famous series was his "Bindu" works, which depicted small circles representing the center of all creation. He saw the circle as a source of energy and life. Raza's largest piece, the "Surya Namaskar," honors the sun through 46 tiles in a grid representing the sun's phases, with a single black circle at the center symbolizing the sun's oneness.
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The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
2. History
• 1576-1580 – Akbar invited Jesuit missionaries to his court, an
adaptation of European themes and artistic styles.
• Father Rudolf Aquaviva, Father Monserrate, and Brother Francis
Henrique
• Polyglot Bible, a multi-volume set containing Greek, Aramaic, Hebrew
and Latin translations of the holy book.
• European allegorical themes adopted to establish political supremacy
4. Mughal Emperor Akbar
holds a religious
assembly in the Ibadat
Khana in Fatehpur
Sikri; the two men
dressed in black are
the Jesuit missionaries
Rodolfo Acquaviva and
Francisco Henriques, c.
1605.
5. Basawan,Woman Worshiping the
Sun: Page from the Gulshan Albumca,
C.1590–95, Opaque watercolor and
gold on paper, 23 x 11.4 cm, The MET
European Influence: windswept robes,
the pitcher, the placement of
attendant, and the transformation of a
god in clouds
6. Jahangir holding a portrait of the Virgin
Mary,1630,Opaque watercolour and gold on
paper, National Museum
7. Abu al-Hasan, The Emperor Jahangir Standing on a Globe Shooting
Poverty, c. 1620, Los Angeles County Museum of Art
In the painting, Jahangir is elevated to a god-like
status, through the halo, the chain of justice held by a
putto on the left connecting him with the heavens.
Two putti can be seen holding a crown atop his head.
His arms are arched with bow and arrow standing
atop a globe on the lion along with a lamb sitting
peacefully. Beneath the globe an old man, identified
as Manu by Robert Skelton who points to a
scroll(Manuspriti). A large fish(incarnation of Vishnu)
with a swamped tail is shown at the botton.
The most obvious European motifs are of the putti
and the halo which were derived from religious prints
and paintings. The crowning of Jahangir by putti (
was probably based on the second frontispiece of the
Polyglot Bible, but the laurel wreath was replaced by
Timur’s imperial crown as a claim to Timurid
ancestry. The depiction of a king or queen standing on
a globe which appears in most of allegorical portraits
also occurs in European royal portraiture
8. Emperor Jahangir is seen embracing emperor Shah
Abbas of Persia. An enormous halo, solar and
lunar, supported by angels, encircles the two
emperors. Jahangir is standing on a lion and Shah,
on a lamb. Both the figures are placed on a globe,
embracing each other, depicting peace. Jahangir is
shown larger and stronger almost dominating Shah
who has a much smaller frame and seems docile.
The painting is a parody of the peaceful yet
uncomfortable relation between Persian and
Mughal empires. Jahangir has used this allegorical
painting to express his bitterness and resentment
towards Shah, a way of expression often used by
him. The painting depicts him as a powerful
monarch steeped in grandeur.
9. Jahangir on Hour-glass, ca. 1630, Bichitr,
V&A Collection
The painting suggests Jahangir as the ruler who
has conquered the whole world, by putting the
European and Turkish Sultan in subordination
to his own image.
He shows that even though he has conquered
the world and time even, his inclination towards
spirituality overpowers. He shows this through
the exchange of the religious book with saint.
He shows his faith and devotion to god and
establishes that he is ruling by divine mandate.
Broken arrow and a cherub covering his face
depicts his favour for peace and not war.
Cherubs below are seen writing calligraphic
texts that mean, “may he live a hundred years”
The artist has rendered each figure
individualistically. Their races, ages, features
and costumes are very well depicted. Th artist
has incorporated his own image also in this
painting.
10. Hashim and Abu'l Hasan. Jahangir and Jesus Jahangir and Jesus. Jahangir by Hashim c. 1615-1620. Jesus by Abu’l-Hasan, c. 1610-1620. Chester Beatty Library, Dublin
11. Abu'l Hasan, Study of Saint John
the Evangelist, After Albrecht Dürer,
c. 1600–1601 , Brush drawn ink on
paper,The MET
13. Tilly Kettle
Jan 31, 1735 - July 1786
• Tilly Kettle was born in London in 1735 and established a
career as a portrait painter working in a style influenced by
Reynolds.
• From 1762-64, he worked mainly in Oxford and the Midlands
due to the intense competition from other artists in London, but
returned there in 1764.
• In 1768, he set off for India, perhaps encouraged to establish a
career as a portrait painter there by Vice-Admiral Sir Samuel
Cornish, whose portrait he had painted in that same year.
• He disembarked at Madras in June 1769 at the age of thirty-
four and was to stay in India until 1776.
14. Tilly Kettle, Portrait of an Officer of the East India Company , Oil on canvas,1770
Major Sweeney Toone has been
suggested among possible candidates.
Major Toone served as Aide-de-Camp
to Warren Hastings and the latter
stood as godfather to two of Toone's
sons. In 1773 Toone was responsible
for raising a troop of cavalry at
Benares to serve as the Governor
General''s Body Guard. The
flamboyant uniform in this portrait
has been compared to that of the
Body Guard, although -regulations
notwithstanding- uniforms in this
period were seldom a rigidly-fixed
matter and the dress might as easily
be that of an infantry officer. The
sepoy dress depicted with some care
in the background has been identified
as that of the Bengal Third Brigade.
23. William Hodges
• William Hodges was born in London in 1744 to tradesmen in St. James. Hodges had been a pupil
of Richard Wilson for seven years and had been trained by him to paint in the principles of
classical idealism
• In 1772 he had accompanied Captain Cook on his second voyage to New Zealand as the official
artist for the Admiralty, embarked with Captain Cook on the Resolution which lasted for three
years, and took Hodges to the Cape of Good Hope, Antarctica, and New Zealand and in South
Pacific islands.
• Hodges reached India in 1780 and stayed there for almost four years. He arrived at Madras in
February 1780 but due to the outbreak of the Second Mysore war he moved to Calcutta where he
gained the patronage of Warren Hastings, the then Governor General of India. His later travels
resulted in many images, which he regularly exhibited at the Royal Academy. He was elected to be
an Associate in 1786 and became a Royal Academician in 1787; the painting he submitted for this
honour was a view depicting Banaras Ghats. his writings, made a vital contribution to the British
perception of India's past compiled into three volumes of ‘Travels in India’.
24. A view of the Fort of Agra, soft ground etching with aquatint, 1786.
29. The Daniell’s travelled in India, from 1786 to 1793, voyaging and documenting for seven to eight years across the length
and breadth of the subcontinent. Visited Banaras twice,first in 1788 then in 1789.
Thomas Daniell was the son of an innkeeper began his life as a bricklayer and then as an apprentice to a coach builder. At
the age of 21 he became assistant to Charles Catton, who was the coach painter for the King. He then joined the Royal
Academy of Art and produced annual paintings. He first turned to architecture and landscape in 1781 when he was
commissioned to produce six views of a wealthy patron’s country house, that opening seems to have directed his attention
towards the dramatic landscape.
They set out from England in 1786 and took three tours across India: up the Ganga from Calcutta to Srinagar, 1788-91,
Mysore from Madras, 1792-93, and finally to England in 1793 visiting Bombay publishing six volumes of ‘Oriental
Scenery’ between 1795 and 1808. Thomas Daniell in 1810, expressed eloquently: ‘It remains for the artist to claim his part
in these guiltless spoliations, and to transport to Europe the picturesque beauties of those favoured regions.’
30. Thomas called himself an engraver while applying to the Company for permission to travel along with 15 year
old William Daniell as his assistant.
The Daniells’ were at Benares on the outward journey in early December 1788 and on their return journey to
Calcutta a year later. The Daniells’ in the descriptive text wrote: “The gauts at Bernares are the most
considerable of any on the Ganges.... An opinion prevails amongst them, that drawing their last breath at cossi is
a circumstance much in favour of their employment of future happiness.”
The Daniells’ borrow the principles of the picturesque to introduce a harmony into the image by sanitizing the
view. The modulation of the tone exemplifies the control that they exercise over the atmosphere. It is conveyed
to the viewer by a peaceful calm warm palette with the pale skies and the peaceful co-existence of land, earth,
water, and skies with the inhabitants of the land.