| Medium | : | Tempera |
|---|---|---|
| Height | : | 14.5 inch / 36.8 cm |
| Width | : | 8.5 inch / 21.6 cm |
| Dimension | : | W: 21.6 cm × H: 36.8 cm |
A striking tempera on board by Jamini Roy, this painting features a seated figure rendered in earthy tones and bold lines, embodying the artist’s signature folk-inspired style. With its flat color application, stylized form, and spiritual aura, the work captures the essence of Indian tradition while reflecting Roy’s modernist vision. An exquisite collectible for admirers of Indian modern art.
Jamini Roy | Untitled | Tempera on Board | 14.5 x 8.5 inches | Circa
This painting is a fine example of Jamini Roy’s distinctive style, which drew inspiration from traditional Indian folk art, particularly the Kalighat pat tradition. Executed in tempera on board, the artwork depicts a seated figure with an olive-green complexion, stylized features, and bold contour lines. The use of earthy tones—ochre, orange, and muted greens—along with flat planes of color and simplified forms, reflects Roy’s departure from academic realism and his embrace of indigenous aesthetics. The figure, adorned with minimal jewelry and draped clothing, exudes a sense of calm presence and spiritual grace. The overall composition highlights Roy’s mastery in blending modernist sensibilities with folk idioms, making his works timeless and deeply rooted in Indian cultural identity.
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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