HISTORY OF ARTS

Assignment

on

Company School of Paintings

Submitted to: Ms Neha DhaliwalSubmitted by: Minnoti Verma

Roll No.: 3310BFA, 3rd Year

“Painting is just another way of keeping a diary.”-Pablo Picasso

Colonial influence on Indian artor

Company style of art

“Native artists were encouraged to paint images of Indian life which reflected the social fabric of the period.”

Classification of Indian art Indian art can be classified into specific periods each

reflecting particular religious, political and cultural developments.

• Hinduism and Buddhism of the ancient period (3500 BCE-present)

• Islamic ascendancy (712-1757 CE) • The Colonial period (1757-1947) • Independence and the postcolonial period (Post-1947) • Modernism • Postmodernism

Each period is unique in its art, literature and architecture. Indian art is constantly challenged as it rises to the peak of achieving the ideals of one philosophy in a visual form, then begins anew for another.

Company Paintings – Introduction

Europeans arriving in India during the 18th century, were fascinated by their new environment. The British wanted their visual experiences to be recorded in paintings and sketches, and found that the subjects that interested them could be depicted far more accurately by Indian than British artists.

During the 18th and 19th centuries, the British employed Indian artists to illustrate the manners and customs of India and to record scenes of monuments, deities, festivals, and occupations. These works later became known as 'Company paintings' because they were created by Indian artists employed by members of the British East India Company.

Company Paintings - Scenes of Everyday Life

The British wanted images of everyday scenes such as the vendors at the market selling grain, fruits and vegetables. The paintings show that the markets of 1850 are very similar to the food markets in India today. Religious castes and occupations were also very popular subjects, especially in South India. People were usually depicted in pairs, as with this set of three mendicant couples with various instruments used in worship and daily life. This painting comes from a book of 30 pages depicting castes, occupations, methods of cultivation and procession scenes. Groups of images were commonly compiled into books, and presented as gifts or saved as mementos.

Company Paintings - Paintings for European Markets

Many of these paintings were created by Indian artist families in areas of British influence such as Tanjore, Trichinopoly, Delhi, Murshidabad, Patna, Calcutta, Benares and Lucknow. Sometimes paintings of local subjects were produced and later peddled at British train stations or sold to European travelers. Individual artists were also commissioned or employed by European officers of the East India company to produce specific works, such as the painting of the Rath Jatra festival procession of 1822, showing a British couple with an Indian nobleman.

Company Paintings - Stylistic Crossover

Indian artists were willing to create new works targeted at the taste of the Europeans who favored watercolor paintings. Both subject matter and style were influenced by the English representational watercolor paintings and prints that were brought to India. Artists gradually switched from heavy Indian opaque paints to light water-colour paints. The result is a type of painting with a blend of Indian and British styles, and an attempt by Indian artists to meet European demands for accurate depictions of subjects. The bright colors traditionally used in Indian miniature paintings were replaced with soft blue, green and brown tones.

Company Paintings - Records from the past

Company paintings can be used as historical documentation of origins of the people of India. Monuments and their surroundings as they were in the past can now only be visualized through these paintings. The Taj Mahal complex, as depicted in the 1830s, is bursting with trees which no longer exist. Through these paintings we are able to have a glimpse of India through Indian eyes of the 1800s. Company paintings for the British continued throughout the 19th century until the introduction of photography in India in the 1840s, which gradually took over.

Company Paintings - Basic Characteristics and Examples

• The use of watercolors• Linear perspective• Light and Shade. • Fairly simple illustrations of a limited range of Indian

life of miniature painting - company paintings• Company paintings provided what was in some ways a

restricted vision.• Tended to focus on a simple range of representative

crafts and occupations, castes and ethnic groups, and commonly observed events and occasions.

1. A Common Indian Nightjar

18th centuryIndia, LucknowWatercolor on paper8 5/8 x 11 1/8 in.(21.9 x 28.3 cm)

A Common Indian Nightjar

The classic works of the Company School of painting were studies of plant and animal life, of which this depiction of the nightjar bird is one. The bird is executed with great attention to detail—individual feathers have been outlined and painted with subtle gradations of color, and several shades of brown and black are used to delineate its body markings. The eye has a bright ring around it and the legs are textured with parallel line markings. The landscape in which the bird stands is only sparingly indicated, and is in a smaller scale than the animal. This feature is common in Company School paintings of this kind, as the main purpose of the painting was to record species new to British observers. The painting comes from an album made for Claud Martin (1735–1800), the French soldier and patron of the arts who settled in Lucknow in the eighteenth century.

2. Great Indian Fruit Batca. 1777–82

Circle of Bhawani Das

India (Calcutta)

Pencil, ink, and watercolors on paper

23 1/2 x 32 3/4 in.(59.7 x 83.2 cm)

Great Indian Fruit Bat In 1777, Sir Elijah Impey, chief justice of Bengal between 1774 and

1782, and his wife, Lady Mary, hired local artists to record the specimens of Indian flora and fauna they collected at their estate in Calcutta. Over the next five years, at least 326 paintings of plants, animals, and birds were made for the Impeys. On most of these works, the name of one of three artists—Bhawani Das, Shaykh Zayn al-Din, or Ram Das—appears along with the Hindi name of the animal and the phrase, in English, "In the collection of Lady Impey at Calcutta." Although this painting bears no such inscription, it is closely related to another painting of a bat by Bhawani Das, and it has always been associated with Impey patronage. One can imagine Bhawani Das and the anonymous artist of this painting working side by side, observing the animals, but whereas Bhawani Das' painting depicts a tawny-colored female bat centered on the page with both wings outstretched, his fellow artist has created an asymmetrical composition in shades of gray and black of an emphatically male bat with one wing dramatically unfurled.

3. Black Stork in a

Landscape

ca. 1780India (Lucknow)Watercolor on European paper29 3/4 x 21 1/2 in. (75.6 x 54.6 cm)

Black Stork in a Landscape By the late eighteenth century, many Mughal-trained painters in

central and eastern India were looking to the emerging British ruling class for patronage. The products of this new Company School were often albums of flora and fauna and other exotic sights of India, made to be taken back to Britain. Although this tradition reached its climax in the late eighteenth century, it continued well into the nineteenth. Of the varied subjects, bird studies, such as this bold depiction of a sturdy black stork, may be deemed a classic type. Paintings of birds, animals, and flowers had been an important genre in Indian art since the time of the Mughal emperor Jahangir (r. 1605–27), and the continuation of such subjects under British patronage was a natural extension of that established tradition, although the results were often quite different stylistically. In this painting, the stork is standing upright in a receding landscape of considerably reduced scale that contains a meandering river. The dramatic contrast in size between the bird and the vista it dominates gives the composition a distinctively idiosyncratic mood.

4. Bengal River Fish

ca. 1804India; Calcutta SchoolPencil, gouache, watercolor, and

gilding on paper14 1/4 x 20 1/2 in. (36.1 x 52 cm)

Bengal River Fish

This painting shows two views of a Bengal river fish, executed in pencil and watercolor with traces of gilding on paper. The twin images of each side of the fish are placed by one another, the upper image in a dark gray tone and the lower one in a paler shade of the same color. The mottled, scaly surface of the fish's body is carefully rendered, as are its mouth and eyes. The painting is from the collection of Marquis Wellesley, governor-general of India from 1798 until 1805. Wellesley had large menageries and hired native artists to paint each of the birds and animals in them

5. View of a Mosque and Gateway in Upper Bengal

ca. 1820–21

Sita Ram

India (Bengal)

Watercolor on paper

13 x 19 1/4 in. (33 x 48.9 cm)

View of a Mosque and Gateway in Upper Bengal

• Sita Ram, painter of this idyllic scene, was hired to record the travels of Francis Rawdon, the governor-general of Bengal (1814–21). Sita Ram had trained in Murshidabad and was particularly skilled in depicting architecture; he prepared a total of ten albums for Rawdon, but no other of his works survive. This particular picture was probably painted during Rawdon's tour of Bengal in the winter of 1820–21, and appears to be a composite of monuments from the Gaur district.

• This painting is likely part of a series from two important dispersed albums recording views of the Ganges in Bengal and of monuments in Agra. It is characterized by a Europeanizing style and exhibits a mastery of European watercolor techniques, suggesting that Sita Ram had contact with distinguished artists such as George Chinnery and Charles D'Oyly.

6. Interior of a Mughal Tomb, or Hammam, Furnished in the English Taste

ca. 1830–40

India (Delhi)

Opaque watercolor on paper

9 3/16 x 12 1/8 in.(23.2 x 30.8 cm)

Interior of a Mughal Tomb, or Hammam, Furnished in the English Taste

One genre of Company School painting served to record the wealth of the British in India, and their homes and furniture—as in this painting—were among the primary subjects. This painting also documents the unusual British practice of turning older buildings such as tombs or baths (as the title indicates) into residences. In this instance, the original structure is a domed octagonal chamber with an oculus. The dome itself has been decorated with a diaper-pattern grid. The walls below are articulated with recessed arches and a marble dado inlaid with red and green floral designs. The stone floor has been decorated in a grid pattern with central rosettes and a central inset that resembles a rug. To this basic structure the new owners have added a piano and bench in front of the window. In a niche in the arch behind the piano is a collection of their glass and stone objects.

7. A Syce Holding Two Carriage Horsesmid-19th century

India (Calcutta)

Ink and opaque watercolor on paper

12 x 20 in. (30.5 x 50.8 cm)

A Syce Holding Two Carriage Horses

There is something hypnotic and disquieting about this near mirror image of a syce, or groom, flanked by almost identical horses. The artist has chosen a pictorial format whose power is as decorative as it is descriptive. The strict symmetry is relieved, however, by subtle differences in the sizes, proportions, and harnessing of the horses, as well as by slight left-right variations in the posture and dress of the groom. The darks are very dark and the lights very light, intensifying the decorative appeal of the composition. Although the color is severely restricted, the artist has beautifully realized the feel of Indian light, and the low horizon line makes both the space and the foreground trio appear truly monumental. The painting's beauty and subtlety testify to the high quality that late Company School artists could attain.

8. Eight Men in Indian and Burmese Costume

19th century

India (Delhi)

Opaque watercolor, ink, and gold on paper

10 x 15 1/2 in. (25.4 x 39.4 cm)

Eight Men in Indian and Burmese Costume

The style of this Company painting is very similar to that of a series of pictures commissioned by two Scottish brothers named Fraser who were resident in India during the first half of the nineteenth century. Among the Fraser pictures are studies of villagers painted from life. One folio in the so-called Fraser Album includes the same figure of a Burmese nobleman, perhaps the ambassador to Delhi, seen in the center of the Museum's picture; here this figure has been reversed by pouncing. The Delhi Fort is visible in the distant background.

9. Three Religious Mendicant Couples

ca.1830

Thanjavur (Tanjore), South India

Watercolor and gouache on paper

Three Religious Mendicant Couples

This image depicts three religious mendicant couples.1)The man bearing on his head five pots, with plants

protruding from them, is a devotee of the goddess Shitala or Maryamma, who guards against smallpox. He is holding a small cylindrical drum and carrying a skin bag.

2)The man beating a mridanga, a type of drum, the woman carrying above her head a shrine with a seated figure of Shitala.

3)The man carrying a bowl, stick and razor, the woman carrying a baby and a bowl.

10. Six figures depicting military uniformsca. 1830, Tanjore, South India, Watercolor on paper

Six figures depicting military uniforms

Painting of six figures depicting military uniforms.Indians who worked for the British were also depicted in

Company paintings.From a volume containing thirty folios depicting castes,

occupations, methods of cultivation and Processions.The various uniforms are:• Madras Horse Artillery.• Madras Light Cavalry.• Madras Rifle Corps. • Madras Pioneers.• Madras Native Infantry. • Foot Artillery.

11. Bengali Woman with

water-jar

ca.1860-70

British artist: De Fabeck

Trichinopoly, South India

Bengali Woman with water-jar

An ayah in a blue choli carrying a china ware and basin. Life study of a Bengali women carrying a lota, or jar, of water; wearing a green skirt; pink sari; along with a red and blue choli. These images serve as representations of ordinary people in India and show how they would have appeared during the 18th and 19th centuries. They also give a sense of the body language, clothing, ornaments, and hairstyles that were associated with various occupations.

12. Durga Pujac.1809

Sevak Ram

Watercolour depicting a Durga Puja

Durga Puja Durga is a form of the Great Goddess Devi; she is

considered to be one in a variety of personalities of the Hindu goddess. She is most well known as the goddess who killed the Buffalo Demon Mahisha. The Durga puja is an autumn festival where her victory is celebrated and other elements of her mythology are remembered. In this drawing, male dancers and musicians are performing before an image of the goddess Durga installed inside a house. The shrine to Durga depicts her in the moment of triumph over Mahisha. On the left a group of three men are seated on painted stools, one smoking a hookah.

13. Taj Mahal view from the North across River Jumna

circa 1815-20

Watercolor on paper,

watermarked J WHATMAN 1811

64 by 99 cm., 25 ¼ by 39 in. within mount

Taj Mahal view from the North across River Jumna

Earlier views of the Taj Mahal from the river were centred on the mausoleum itself. about 1820 moved the perspective to centre on the mosque to the west of the mausoleum, thereby increasing the beauty and complexity of the perspective drawing. By his use of the play of light and shadow, the artist has here given the hieratic image of the Taj an added dimension, that emotional content so often absent from Company School painting. To the right on the west side is the mosque and opposite on the east side is the Mihman Khana or assembly hall used as a guest house. The Taj Mahal, Agra from the river Jumna from a series of 60 drawing of Mughal monuments. The drawings are recorded as being by 'native draughtsmen of the Delhi School in the Office of the East India Company'.

14. Holi being played in Courtyardcirca 1795, Medium: Watercolor

Holi being played in Courtyard• Watercolour drawing showing the Holi festival, by an anonymous artist

working in the Patna school, c. 1795-1800. Inscribed on the back of the drawing is: 'No.4. The Gift of E.E. Pote Esqr. Elizath Collins. This is a Hindoo Festival celebrated, among other sports, by throwing a red powder enclosed in globes of Lak which break instantly and cover the party with the Powder - this is immediately returned - and thus by partial and promiscuous peltings - the whole Party are entirely covered with the red Powder. The Powder is also put in Water, and the Assembly attack each other with squirts filled with the red water - by the time the Party break up', 'they are so disfigured as scarce to be known'; also' The Festival of the Hoolee.'

• Holi is a very colourful Hindu festival celebrated at the end of the winter season on the last full moon day of the lunar month Phalguna (February/March). During the celebrations participants jump over bonfires the preceding night and on the day itself they throw coloured water and powder at each other. The festival has ancient origins and is practiced all over India. In this drawing, an Indian gentleman is sitting on a painted stool watching the celebrations. Men sing and dance and play on instruments while women squirt coloured water.

15. Green-winged Macaw

circa 1780

Company school at Calcutta

Opaque Watercolor on paper

Green-winged Macaw

• A Green-Winged Macaw, folio, possibly from the 'Impey Album,' Attributed by inscription to Shaikh Zain al-Din, Company school at Calcutta, about 1780, opaque watercolor on paper.

• The green wing Macaw is primarily a darker red in color. It has red, or, red and black, feather species on its facial patch and a green band of feathers following the red on its wings. The Green wing macaw is also known as the Gentle Giant as it is larger than most other macaws species.

Indian Clerk at Malabar Coast Basket Makers

Mussalman taking his Bride home

Group of Courtesans

The Imperial Cadet Corps

Khansamah followed by Coolie bringing home provisions