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The life of the Indian and Western artists Landscape

Delhi: National Gallery of Modern Art in collaboration with the Victoria and Albert Museum in London, Indian and Landscape presented by Western artists, an exhibition of more than ninety drawings and paintings of the V & A 1790 - 1927, at the National Gallery of Modern Art, Jaipur House, New Delhi from 27 October 2009 at December 6, 2009.

The exhibition is a collection of Victoria and Albert Museum of watercolors showing rare and interesting sketches, aquatints, lithographs and engravings of European artists who visited India from 18h to 20th century.

Says Professor Rajeev Lochan, Director NGMA: "The first visual representations of India by the Western artists were fantastic landscapes and settings. They were based on written accounts of travelers to India from all over Europe. Only after the European professional artists began to travel to India which he painted for the first time, scenes based on direct observation. His passionate interest in this exciting new land led to the creation of a comprehensive pictorial record of India, in a visual style familiar to Western audiences. "

India's spectacular architecture, the natural beauty of its landscapes, and the great diversity of its people have inspired many artists around the world. The exhibition is divided into four sections showing the works of various schools of art. The exhibition opens with a picturesque tour of India through images strong dramatic splendid temples and palaces. The second section displays works of amateur artists who were captivated by the landscape and architecture of India. Many of these fans were employees of the East India Company, which was transferred to canvas his personal experiences. The third section is devoted to Romanticism of Indian art representing striking decorative paints entirely from the imagination. For example, the view is a panoramic view of the Taj Mahal, paintings of scenes from busy street, Princes majestic, and girls with bulging eyes Nautch. The fourth section, based on realism, documents of social life and people engaged in various professions during that time.

SECTION 1: THE PICTURESQUE TOUR OF INDIA

Since the mid-eighteenth century, European professional artists began to turn to India for inspiration. They were attracted by the opportunity to explore unknown lands, to make their fortune, and to enhance its reputation.

The beginning of the picturesque, an important literary and aesthetic movement in England led to a revolution in Western art and promoted in a particular way of observing and drawing landscapes. A picturesque scene included elements typical of the roughness and irregularity, including old buildings in ruins and impressive architectural structures added variety and created an atmosphere evocative. India offered an infinite range of topics that describe in this way. The picturesque tradition of the 18th century helped to create order, balance and serenity of the magnificent landscape and aquatints of Indian architecture created by artists such as Thomas and William Daniell. The uncle-nephew duo toured India, painting magnificent buildings that have now turned to dust. Therefore, these paintings are a record priceless. Ruins of the Palace in Madurai, Gingee Fort, and the Hindu temple Carnatic in Agouree Soane in the river are some notable examples of his works.

SECTION II: ARTISTS AMATEUR

While Western professional artists continue to deepen their Indian subjects, amateur artists and tried her hand at making of India. These artists drew and painted for his own private pleasure, rather than living through it. Most fans were employees of the Company East India or worked as civilians in the military, using their free time to paint. Sometimes they form social groups to share their knowledge. Many worked outside the artistic conventions of the time and had very different levels of skill. His work also forms an important part of the screen, as a record of personal experiences. The Taj Mahal by Thomas Longcroft, A party Natch by Robert Smith and in Alipore Bridge by Charles D'Oyly are some examples of works by amateurs who were in no lower than professional colleagues.

SECTION III: ROMANTICISM IN INDIA

A different view of India was presented by those influenced by the movement romantic success, which stressed the wild nature and the drama of the natural world that results in some paintings most striking and suggestive of India. The movement encourages artists to focus on their intuition and imagination and create paintings that evoke strong emotions. Elements picturesque remained in the repertoire of the artist and at the same time, embraced another aesthetic theory of the time, 'the Sublime'. This favored the representation issues in a manner intended to produce a feeling of admiration and astonishment in the spectator. The dramatic mountainous regions of India and grand architecture monuments lend themselves to romantic interpretation. People often idealized and represented in a lovely way. Artists used their imagination to improve their work; some had never been to India, graced the sketches of others and creating attractive images and powerful. Perhaps the most striking of these pictures that William Carpenter delivery display are bright marble interior of the temple Neminath, entitled Interior of the Temple Neminath, Dilwara, the Mount Abu. Ancient Observatory by William Simpson, a Hindu woman of the Konkan by Melville Grindlay and Robert A leopard attacking an antelope by Samuel Howitt, are other examples of the romantic school of practice.

SECTION IV: Realism and the Indian student

Since the 1860s, the advent of photography and greater access to the Western Enlightenment, cultivated a taste in the Indian public photos from real life. Indian artists began to use Western modes of representation that includes the drawing of figures. This trend was encouraged by art schools in Bombay, Madras, Calcutta and Lahore was under the control of the colonial government. Artist John Lockwood Kipling (1837-1911), father of Rudyard Kipling and John Griffiths (1838-1918) were appointed as the dean of the JJ School of Art in Mumbai, which produced many great Indian artists, including M. M Husain and FN Souza. Kipling was commissioned by the government to produce a series of studies of crafts people, some of which are shown in the exhibition. His images evoke a sepia-toned time past, with sweet sellers almost hidden behind the piles of candy, farmers harvest the cotton by hand, and weavers to create fabrics in the loom. One of the most John Griffiths memorable paintings entitled A woman with a fish head, Bombay is the realistic drawing of a local fisherwoman a mass balance fish head, a classic image of Bombay can still be seen today.

The charm of the exhibition, therefore, is not the fact be able to travel back to a period in history that will not return, but also get a valuable sociological document of centuries ago.

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