Jamini Roy

Jamini Roy (1887-1972)

While it is often assumed that revival means no more than a return to the methods and traditions of the past - Jamini Roy’s paintings are also a blueprint of his evolution as an artist while freeing Indian art from Western influences. This trajectory of being besotted by and subsequently adept at Western techniques, only to revert to Indian methods is reflected in Jamini Roy’s life and his work.

Born on April 11, 1887, in the Bankura district of West Bengal, Roy was mesmerised by the Patuas and their intricate craftsmanship, from an early age. Recognizing their son's burgeoning passion for the local arts and crafts, his parents sent him to the Government School of Art in Kolkata (then Calcutta). While being heavily influenced by the West, he was taught to paint in the prevailing academic tradition, drawing Classical nudes and painting in oils, and in 1908 he received his Diploma in Fine Art. However, it was the ideology of the great Rabindranath Tagore that led him to realise that it was not the West but his own culture, living folk and tribal art that he needed to look at for inspiration.

Three Women (c.1950) | Tempera on board

Although Roy faced financial stringency during his student years, at the height of his career, it became fashionable to have a portrait painted by him. Though already proficient in the naturalistic style, Roy explored the Bengal School style in his quest for a new mode of expression. During this period, he produced a few paintings in the misty wash style, characterised by delicate figuration. His work, particularly his portrayals of the Santal community, received wide acclaim and attracted numerous buyers. However, despite the positive response, Roy later decided that this style did not resonate with his artistic vision.

In his artistic journey, Jamini Roy rejected the oil medium and ceased, quite abruptly, accepting portrait commissions, despite the financial strain this caused his family. Undeterred, Roy discovered his true métier, transforming his figuration and embracing a palette of brilliant, saturated colours that defied naturalistic norms. Moving away from academic realism, he sought to express an indigenous voice, drawing inspiration from Bengal's folk arts, Kalighat paintings, and East Asian calligraphy. His use of space and narrative techniques from vertical scroll paintings and temple friezes culminated in a distinctive style that celebrated and redefined Indian art.

Saint Ann with the Blessed Virgin Mary (c.1940) | Tempera on board

In his artistic journey, Jamini Roy rejected the oil medium and stopped accepting portrait commissions, despite the financial strain this caused his family. Undeterred, he embraced a new style with vibrant colours that defied naturalism, shifting away from academic realism to express an indigenous voice. Drawing inspiration from Bengal’s folk arts, Kalighat paintings, and East Asian calligraphy, Roy used space and narrative techniques from vertical scrolls and temple friezes to create a distinctive style. His quest was to capture the simplicity of folk life, make art more accessible, and give Indian art its own identity. He also utilised indigenous materials like lamp black, organic tempera, and earth and mineral pigments.

With his reputation firmly established, the demand for Jamini Roy’s paintings continued to grow, accompanied by accolades and recognition. In 1955, the Government of India honoured him with the Padma Bhushan. The following year, Lalit Kala Akademi selected him as a fellow, and in 1961, he was celebrated with a special ceremony recognizing his artistic achievements. However, from the 1960s onward, his health began to decline, leading to a slowdown in his experimentation. Roy used this period to develop his mosaic-like paintings, drawing inspiration from the elongated faces and figures of pre-Renaissance Byzantine icons, and integrating texture into his visual language.