| Medium | : | Tempera |
|---|---|---|
| Height | : | 8 inch / 20.3 cm |
| Width | : | 6.5 inch / 16.5 cm |
| Dimension | : | W: 16.5 cm × H: 20.3 cm |
An evocative still-life floral painting featuring rich textures and earthy hues, where layered brushwork and subtle colors create a warm, timeless visual harmony.
Jamini Roy | Tempera on Board | 8 x 6.5 inches
This expressive still-life painting presents a dense bouquet of flowers arranged in a rounded vessel, rendered with rich texture and an earthy, tactile surface. Thick, layered brushstrokes build a vibrant interplay of yellows, ochres, reds, whites, and muted blues, creating a sense of warmth and organic movement. The flowers appear almost to merge with the background, dissolving traditional boundaries between form and space, while the subdued brown and grey tones anchor the composition. Rather than focusing on precise botanical detail, the artist emphasizes mood and materiality, allowing color and texture to evoke the quiet presence and timeless beauty of nature. The work carries a contemplative, intimate quality, celebrating simplicity through painterly depth and restraint.
One of india’s most loved artists, Jamini Roy is remembered for forging a unique indian aesthetic for modern art by bringing together elements of traditional bengali folk art and kalighat patachitras, rendered in clean lines and earthy colours.
Born on 11 April 1887 in a landowning family in Bankura district of Bengal, Roy trained in European academic-realist painting at the Government College of Arts and Crafts, Calcutta, and began his career painting landscapes and portraits.
Soon, moving away from these, he started experimenting with a more indigenous visual vocabulary. Level surfaces, flattening of design in depth, and the use of dissonant primary colours were aspects of folk painting that Roy incorporated in his work. Also, he took up the volumetric forms of the Kalighat patachitras. However, unlike the spontaneous brushwork of the traditional patuas, Roy’s lines were more restrained and precisely delineated.
Roy would paint several versions of a subject, breaking and reforming the theme over months. Turning his family into a production unit, he tried to emulate a craft-guild mode of artistic production. He painted on a wide range of themes—common people, mythological tales, Christian iconography, as well as visual characteristics of home-sewn Bengal quilts and Byzantine icons.
Roy was awarded the Viceroy’s gold medal in 1935, the Padma Bhushan in 1955, and elected a fellow of the Lalit Kala Akademi in 1956. Declared a National Treasure artist in 1976, his works cannot be exported. He passed away on 24 April 1972.
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