Government of India
Yashoda and Krishna
Keywords: Modern Painting
Artwork
Publisher: National Gallery of Modern Art, New Delhi
Description: This is a modern painting made by Jamini Roy. It is lovely to see how the brush glides fluidly to create the contour lines that define Yashoda and the cow. The contour lines suggest both simplicity and volume in the forms. It is signed 'Jamini Roy' in Bengali at the right bottom corner of the painting with a brush and red colour.
Type: Painting
Received From: National Gallery Of Modern Art, New Delhi
| DC Field | Value |
| dc.creator | Roy, Jamini (1887-1972) |
| dc.coverage.spatial | India |
| dc.date.accessioned | 2020-09-13T06:17:30Z |
| dc.date.available | 2020-09-13T06:17:30Z |
| dc.description | This is a modern painting made by Jamini Roy. It is lovely to see how the brush glides fluidly to create the contour lines that define Yashoda and the cow. The contour lines suggest both simplicity and volume in the forms. It is signed 'Jamini Roy' in Bengali at the right bottom corner of the painting with a brush and red colour. |
| dc.description.statementofresponsibility | 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 |
| dc.format.extent | 52.3 X 73 cm |
| dc.format.mimetype | image/jpg |
| dc.publisher | National Gallery of Modern Art, New Delhi |
| dc.subject | Modern Painting Artwork |
| dc.type | Painting |
| dc.identifier.accessionnumber | ngma-03134 |
| dc.format.medium | image |
| dc.format.material | Tempera, Cloth |
| DC Field | Value |
| dc.creator | Roy, Jamini (1887-1972) |
| dc.coverage.spatial | India |
| dc.date.accessioned | 2020-09-13T06:17:30Z |
| dc.date.available | 2020-09-13T06:17:30Z |
| dc.description | This is a modern painting made by Jamini Roy. It is lovely to see how the brush glides fluidly to create the contour lines that define Yashoda and the cow. The contour lines suggest both simplicity and volume in the forms. It is signed 'Jamini Roy' in Bengali at the right bottom corner of the painting with a brush and red colour. |
| dc.description.sponsorship | 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 |
| dc.format.extent | 52.3 X 73 cm |
| dc.format.mimetype | image/jpg |
| dc.publisher | National Gallery of Modern Art, New Delhi |
| dc.subject | Modern Painting Artwork |
| dc.type | Painting |
| dc.identifier.accessionnumber | ngma-03134 |
| dc.format.medium | image |
| dc.format.material | Tempera, Cloth |
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