| Medium | : | Tempera |
|---|---|---|
| Height | : | 8.75 inch / 22.2 cm |
| Width | : | 10.5 inch / 26.7 cm |
| Dimension | : | W: 26.7 cm × H: 22.2 cm |
This untitled tempera on board landscape by Jamini Roy captures the glow of a luminous field with bold, textured brushstrokes and vibrant colors. Moving beyond figuration, the painting reflects Roy’s contemplative engagement with nature, blending abstraction and atmosphere into a poetic vision.
Jamini Roy | Untitled | Tempera on Board | 8.75 x 10.5 inches | Circa
This evocative painting is an untitled landscape by Jamini Roy, created in tempera on board. Unlike his more well-known folk-inspired figurative works, this composition reflects his sensitivity toward nature and his experimental use of color and texture. The scene portrays a luminous field bathed in warm golden light, possibly at dusk, with dark silhouettes of trees standing against the horizon. Roy uses short, textured brushstrokes in vibrant yellows, oranges, blues, and greens, creating a rhythmic surface that almost shimmers with movement. The balance between dark shadows and glowing light gives the landscape a meditative yet dynamic quality, capturing the essence of nature rather than a literal depiction. It highlights Roy’s versatility as an artist who, while rooted in indigenous traditions, explored broader expressions of mood and atmosphere.
Jamini Roy’s landscape painting exhibits his distinct expressionist style, where bold, sweeping strokes and a vibrant color palette create a dynamic interplay of texture and light. The luminous yellows and blues contrast beautifully, evoking the energy of a sunlit field beneath a restless sky. His choice of other earthy tones in the landscape grounds the composition, while his impressionist brushwork captures movement, giving the landscape an immersive, almost meditative quality.
His deep connection to nature and folk aesthetics. By emphasizing form and rhythm over realism, Roy’s landscapes stand as timeless contributions to Indian modernism, ensuring his lasting influence in art history.
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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