Painting, Krishna holding up Mount Govardhan, by Jamini Roy or a member of his workshop, painting, opaque watercolour on card, Kolkata, ca. 1940-1944

Painting, in opaque watercolour on cardboard, Krishna, depicted in blue, holds up mount Govardhan while four cowherds look on. All the figures are in profile and have large eyes, a characteristic of Jamini Roy's work. The background appears very flat and is brown. Trees, bushes and flowers appears as decorative motifs but symbolise nature. All the heads are depicted frontally and are fish-eyed.

Jamini was a supporter of the Indian independence movement and his search for an authentic modern India was a response to this. Part of his search involved the restoration of the collaborative indigenous artisanal labour model. Thus, in his workshop he produced a range of stock motifs which his apprentices then copied- all were signed with his name. This painting is believed to be by his workshop.

Krishna, depicted in blue, holds up mount Govardhan while four cowherds looks on. All the figures are in profile and have large eyes, a characteristic of Jamini Roy's work. The background appears very flat and is brown. Trees, bushes and flowers appears as decorative motifs but symbolise nature. All the heads are depicted frontally and are fish-eyed.

Given by Mr. J.C. Irwin in 1979. RF: 79/1371

Jamini Roy (1887-1972) was one of the most important artists of the modern period in India, drawing on the popular and folk traditions of rural Bengal for his inspiration. Born in Beliator, a village in the Bankura district of Bengal, Jamini was raised in a family of small landowners.

In 1906 he entered the Calcutta School of Art and studied under Abanindranath Tagore, the pioneer and leading exponent of the Bengal School of Art. Abanindranath's tutorage secured Jamini's dexterity both in European and indigenous painting traditions. For a short period Jamini became a portrait painter, a skill for which he was highly regarded in Calcutta. He then experimented with Impressionistic landscapes before rejecting his European training in favour of indigenous art forms.

Initially Jamini adopted the Kalighat style of painting, a popular art form with origins in the rural traditions of Bengal, but found thriving in the back streets of Calcutta. However by the 1920s, Jamini felt that Kalighat paintings had lost their rural ideal having being adapted too much to fit the requirements of their new urban environment. Jamini sought to define an authentic modern Indian art; he therefore travelled through Bengali countryside studying folk painting traditions. He developed his own personal style which was characterised by bold lines and flat use of colour. He used indigenous materials, including lamp black for the outline drawing, 7 basic colours (Indian red, yellow ochre, cadmium green, vermilion, grey, blue and white), which he applied with organic tempera, earth and mineral pigments to homemade canvas spun with fabric. His paintings can be divided into three main themes: the everyday life of rural Bengal, particularly the women of the Aboriginal Santhal community, Hindu mythological subjects and Christian imagery.

Jamini was a supporter of the Indian independence movement and his search for an authentic modern India was a response to this. Part of his search involved the restoration of the collaborative indigenous artisanal labour model. Thus, in his workshop he produced a range of stock motifs which his apprentices then copied- all were signed with his name. This increased the production and dissemination of original works which were then affordable to a wider body of people, not just the rich. Jamini gained an international reputation during the 1940s; his work was exhibited in London in 1946 and in New York in 1953.

India, drawing on the popular and folk traditions of rural Bengal for his inspiration. He developed his own personal style which was characterised by bold lines and flat use of colour.

In this painting, the artist has depicted a mythological Hindu theme. Krishna, depicted in blue, holds up mount Govardhan while four cowherds looks on. The artist has depicted all the figures are in profile and have large eyes, a characteristic of Jamini Roy's work. Jamini was a supporter of the Indian independence movement and his search for an authentic modern India was a response to this. Part of his search involved the restoration of the collaborative indigenous artisanal labour model. Thus, in his workshop he produced a range of stock motifs which his apprentices then copied, all of which were signed with his name. This work is believed to have been produced by his workshop

IS.50-1979