Suppose you enter an ordinary middle-class household in West Bengal. In that case, it is more likely you will find a beautifully preserved portrait of Jamini Roy than a costly piece of art by one of India’s numerous contemporary artists. While the majority of Indian artists of the 20th century were enthusiastic about modern art, which brought them substantial profits, Jamini Roy stood out for his appreciation of Indian culture.
He abandoned modern art in favour of the simplicity of Kalighat Pat paintings (Indian folk art), gaining millions of hearts in the process. He also abandoned European colours and canvases in favour of more appropriate alternatives. Moreover, Jamini Roy’s love of modest Indian folk art was so strong that he did not worry about selling his works for high rates, instead selling them for as little as 350 rupees. And, if he discovers that the buyer is not properly caring for his paintings, he will buy them back. With how rare it is to appreciate art deeply, this is the story and the legacy of one of India’s pioneering painters, Jamini Roy.
Overview of the Artist | Jamini Roy
Born in 1887, Jamini Roy grew up in a wealthy, land-owning family. At sixteen, he left his hometown to pursue his dream as a painter at the Government College of Art in Kolkata. He was then instructed in oil painting under the accepted academic style, drawing classical nudes, and in 1908 he was awarded a Diploma in Fine Art. However, he quickly understood. that he wanted to be inspired by his culture rather than Western customs, so he turned to contemporary folk and tribal art for ideas. Between 1921 and 1924, he began his first era of experimentation using the Santhal dance as his starting point, moving away from his earlier impressionist landscapes and portraits.
Career and Philosophy: Style of Work
Jamini Roy began his career painting portraits, but he was not totally satisfied with the fact that he was painting them for commission. In 1925, he discovered his calling near Calcutta’s (now Kolkata) famous Kalighat temple. He instantly realised his choice and passion for art after witnessing a few Kalighat paintings displayed outside the temple. Jamini Roy recognised that Bengali folk art could be used to bring down not two but three birds with one stone: a method to simplify and depict the lives of ordinary people, a way to make his art accessible to everybody, and a way to restore Indian art’s splendour. Over time, his paintings solely reflected the indigenous art of Kalighat painting and the terracottas of the Bishnupur temple. His works were displayed at major shows in cities such as London and New York City in the following years, successfully setting out what he originally intended to transition from Western classical to Bengali folk art.
The Bengal School of Art influences Jamini Roy’s paintings from the early 1920s. Initially, he produced some superb landscapes and portraits that signalled his introduction to the Post-Impressionist genre. Many paintings he produced later in his career were inspired by rural Bengal’s daily life. Next, various paintings with religious themes, such as the Ramayana, Radha-Krishna, Jesus Christ, and others. Jamini Roy also painted images from the lives of the Santhals, a primitive tribe, using brush strokes that were generally broad and swept throughout his works. Roy’s work depicted scenes from village life beginning in 1920, capturing the innocence and romanticism of the rural setting. Around the mid-1930s, Jamini Roy abandoned the traditional painting practice on canvases and began painting on materials such as cloth, mats, and even wood treated with lime. He also began experimenting with natural pigments and hues made from dirt, chalk, and flowers instead of European paints. His paintings gradually lost colour, resulting in a series of monochromatic works that seemed to be influenced by East Asian painting styles like Kalighat pats.
Recognition After Death | Jamini Roy
The works of art that Jamini Roy created have been exhibited in museums worldwide, including the Victoria and Albert Museum in London. There are many of his paintings there, both from public and private collections. Moreover, he won a Viceroy’s gold medal in 1934 for one of his works in an all-India exhibition. In 1955, the third highest civilian honour, the Padma Bhushan was bestowed upon him by the Indian government. She was also the first Indian painter to receive the honour of Fellow of the Lalit Kala Akademi, the highest honour bestowed by the academy, from the Indian Government’s National Academy of Art in 1956. Aside from the academy, the Archaeological Survey of India included his works among the “Nine Masters” in 1976. Due to their artistic and aesthetic value, the “Nine Masters” were regarded as art treasures. Finally, in his most recent recognition, on April 11, 2017, Google created a special Google Doodle to commemorate Jamini Roy’s 130th birthday.
References:
- (no date) Jamini Roy. National Galleries Scotland. Available at: https://www.nationalgalleries.org/art-and-artists/artists/jamini-roy (Accessed: March 24, 2023).
- Jamini Roy (no date) Artnet.com. Available at: https://www.artnet.com/artists/jamini-roy/ (Accessed: March 24, 2023).
- Google Arts & Culture (no date) Google. Google. Available at: https://artsandculture.google.com/story/jamini-roy-national-gallery-of-modern-art-ngma-new-delhi/OgWRKWgZqPzIJw?hl=en (Accessed: March 24, 2023).
- Jamini Roy Biography – Paintings & Artworks, life history & achievements (no date) Biography – Paintings & Artworks, Life History & Achievements. Available at: https://www.culturalindia.net/indian-art/painters/jamini-roy.html (Accessed: March 24, 2023).
