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Lot 2
Jamini Roy (1887-1972)
Estimate : 8,00,000 - 11,00,000
Called the Father of Folk Renaissance in India, Jamini Roy created an alternate vision of modern Indian History. Roy's illustrious career seen through the turn of the century and across the threshold of Independence sparked debates on modernism. In a bid to offer an alternate understanding of what 'modern' Indian art represented, Roy's style moved away from the prevalent Orientalists of the time. ‘Jamini Ranjan Roy was born in 1887 to a small landed family in rural Bankura in Bengal, a region that boasts of a rich tradition of terracotta sculptures and folk art. In 1906, he enrolled at the government art school in Calcutta under Abanindranath Tagore'

Trained in an academic style, it was in the 1920s when Roy started shedding that identity and taking on inspiration from the folk traditions of patua painters. He turned to Santhal women and Kalighat artists to upend his artistic vision in a period rife with nationalistic sentiments. More so than adopting, absorbing such an indigenous style allowed Roy to become of the revered artists in the 20th century. His works secured the highest accolades from the Academy of Fine Arts and the Indian Society of Oriental Art in Calcutta.

His chosen subject matter became more traditional. He painted with bold dark outlines that were filled with earthy tones of Indian life. The Procession has been painted upon a layer of deep brick-red background that emulates the terracotta relief of his home village in Bankura. 'Roy's bold simplification and thick outlines applied with sweeping brush strokes exuded a crude vigour hitherto unknown to Indian art.'

(excerpts from Mitter, Partha, The Triumph of Modernism: India's Artists and Avant Garde, 1922 - 1947, Oxford University Press, 2007)
Hammer Price :
7,10,000
+ Buyer premium (10 %)
 71000.00
Total
7,81,000
The lot has ended
Description

Called the Father of Folk Renaissance in India, Jamini Roy created an alternate vision of modern Indian History. Roy's illustrious career seen through the turn of the century and across the threshold of Independence sparked debates on modernism. In a bid to offer an alternate understanding of what 'modern' Indian art represented, Roy's style moved away from the prevalent Orientalists of the time. ‘Jamini Ranjan Roy was born in 1887 to a small landed family in rural Bankura in Bengal, a region that boasts of a rich tradition of terracotta sculptures and folk art. In 1906, he enrolled at the government art school in Calcutta under Abanindranath Tagore'

Trained in an academic style, it was in the 1920s when Roy started shedding that identity and taking on inspiration from the folk traditions of patua painters. He turned to Santhal women and Kalighat artists to upend his artistic vision in a period rife with nationalistic sentiments. More so than adopting, absorbing such an indigenous style allowed Roy to become of the revered artists in the 20th century. His works secured the highest accolades from the Academy of Fine Arts and the Indian Society of Oriental Art in Calcutta.

His chosen subject matter became more traditional. He painted with bold dark outlines that were filled with earthy tones of Indian life. The Procession has been painted upon a layer of deep brick-red background that emulates the terracotta relief of his home village in Bankura. 'Roy's bold simplification and thick outlines applied with sweeping brush strokes exuded a crude vigour hitherto unknown to Indian art.'

(excerpts from Mitter, Partha, The Triumph of Modernism: India's Artists and Avant Garde, 1922 - 1947, Oxford University Press, 2007)

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