Jamini Roy, one of India’s foremost modern artists, emerged during a period of profound cultural and artistic conflict.

This era was marked by a struggle between the declining influence of Western artistic conventions and a yearning to revive India’s glorious artistic past. The multiplicity of art forms from India’s heritage, combined with influences from Far-Eastern techniques and motifs, created a landscape of aesthetic indecision, oscillating between the unreal and the impossible. Amid this confusion, Jamini Roy distinguished himself through a singular vision and clarity of purpose. Roy’s work epitomised a break from conventional thought, drawing inspiration from indigenous traditions and re-establishing a connection with the simplicity and vitality of Indian folk art.

As a renowned artist, Jamini Roy was frequently invited to prestigious households, starting with the illustrious Jorasanko Thakurbari. Following the academic traditions of the time, he was commissioned to create oil-painted portraits of various individuals, rendered with a level of precision and detail reminiscent of photography. Within a very short period, Jamini Roy realized that his growing reputation was predominantly as a commissioned portrait painter rather than as a creative and original artist.

Understanding the necessity to carve out a path for individual expression, he sought ways to transcend the conventional expectations placed upon him. During this period of reflection, Gaganendranath Tagore and Abanindranath Tagore commissioned him to create a portrait of Debendranath Tagore. It was through this commission that Jamini Roy met Sunayani Devi. Inspired by her unique artistic practices, which were deeply infused with folk traditions, Roy found a new source of inspiration. Sunayani Devi's approach emphasized the rich cultural heritage of folk art, which resonated with Roy's desire to develop a more personal and culturally authentic style. This pivotal encounter encouraged him to explore and incorporate folk elements into his work, ultimately leading him to establish his distinctive artistic identity and move beyond mere commissioned portraiture to become a celebrated creative artist.

Another significant influence on Jamini Roy’s artistic evolution was the presence of Mahatma Gandhi and the socio-political climate of the 1920s. In 1920, Gandhi initiated the Non-Cooperation Movement, which encouraged the nation to embrace 'Desi' (indigenous) products over 'Videsi' (foreign) ones. This movement sparked a widespread cultural and intellectual shift, promoting self-reliance and pride in Indian heritage.

For Jamini Roy, this ideological wave resonated deeply, inspiring a renewed appreciation for folk art and its intrinsic connection to Indian identity. The works in this exhibition collectively underscore Jamini Roy's innovative approach to synthesizing diverse artistic traditions, both indigenous and international, to develop a unique visual language that resonates with cultural authenticity and creative expression.

- Debdutta Gupta

Jamini Roy (1887 - 1972)

Born in 1887 in a small village in Beliatore, Bankura district, West Bengal, Jamini Roy joined the Government School of Art, Kolkata in 1903. He began his career by painting in the Post-Impressionist genre of landscapes and portraits, very much in keeping with his training in a British academic system. Yet, by 1925, Roy had begun experimenting along the lines of popular bazaar paintings sold outside the Kalighat temple in Kolkata. By the early 1930s, Roy made a complete switch to indigenous materials to paint on woven mats, cloth and wood coated with lime.

Roy was able to expertly capture the qualities that are a part of native folk painting and combine them with his own. He fused the minimal brush strokes of the Kalighat style with elements of tribal art from Bengal. Roy's rejection of the then-modern style of painting and his foray into the realm of Bengali folk paintings marked a new beginning in the history of Indian modern art. The mother and child, Radha, and animals were painted in simple two-dimensional forms, with flat colour application and an emphasis on the lines. The main subjects were often enclosed within decorative borders with motifs in the background. The figure of Christ was also a subject that Roy often painted.

Roy held several solo exhibitions and numerous group shows. His works can be found in several private and public collections, institutions and museums all over the world, including the National Gallery of Modern Art, Delhi; Lalit Kala Akademi, Delhi; Kiran Nadar Museum of Art, Delhi and in numerous museums internationally including the Victoria and Albert Museum in London and the Harn Museum of Art at the University of Florida to name a few. He was awarded the Viceroy’s Gold Medal in 1935, the Padma Bhushan in 1955 and was elected a fellow of the Lalit Kala Akademi in 1956.

Jamini Roy died on 24 April 1972 in Kolkata, where he had lived all his life. Following his death, he was declared a National Treasure artist in 1976.