Early Bengal Oil Painting

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Art, literature, architecture are expression of man's creative self. Influenced by time, place and personalities art has its varied expressions. It can never be restricted within boundaries. Choice of medium is significant for any artist's creative expression. 15 century Europe saw the development of a new medium of oil paint. Innumerable renowned paintings were created through this medium. Jan Van Eyck of Netherland is credited with the invention of the medium and technique of oil paintings. Oil painting developed from Tempera medium and gained popularity in 15th century in Venice. Tempera and Gouache were the traditional and conventional medium in the realms of Bengal art and painting also. The medium of oil was gradually introduced in the realms of Indian Art by European painters. When the Europeans who included Portuguese, Dutch, French others and finally British emerged in the Indian scenario with their business ventures, apart from political and social interactions, economical influences were also observed in the field of art. Europeans encouraged paintings of environmental scenario, flora and fauna, social customs and traditional practices of their new found land. These paintings fulfilled purpose of photographic documentation of the milieu. They were popularly known as Company paintings. The Indians on the other hand, got exposed to the western world including art and culture. Being influenced, as well as to impress the Europeans, powerful traders and Zaminders (landlords) ventured for construction of palatial buildings along the banks of Hooghly near the European settlements especially in Chandannagar, Chinsurah, Kolkata and Nasipur. European artifacts were acquired for the purpose of adorning those houses. It was during that period interest for western oil paintings developed among the affluent cultured Bengali personages. Under their patronage the Indian painters were initiated into using the new medium of oil and a distinct genre of painting originated which is termed as Early Bengal Oil Painting. However, the history of these paintings and their techniques have not been surveyed in details. This book is an effort to unveil the lesser known and lesser published history of Early Bengal Oil Painting. The importance lies not only in about the glorious creations of a unique period of amalgamation of western and Indian influences. Some myths are popular about these paintings. This writing is a venture to find justifications of the popular beliefs. Between 1770 and 1825 the European artists who visited India included 30 oil painters and 28 miniature painters. They visited many places across India including Bengal for their purpose of painting. Eminent among them were Tilly Kettle. William Hodges, Johannes Zoffany, William Hickey, Thomas Daniell, William Daniell and others. Many among them inspired Indian painters to adopt od paintings. However the Indian artists who initiated the utilization of oil medium is not clearly known. It was an era of turmoil. With the fall of Mughal and Muslim rule artists from courts of Delhi and Rajasthan migrated to Mushidabad in Bengal, and then to Kolkata for sustenance. Hence this study is an effort to establish the identity like the Darbari painters, folk painters and others in the realm of Early Bengal Oil Painting. The oil paint medium was utilized and experimented with by different categories of painters but the technique of oil medium was not mastered. It was used in indigenous style giving birth to an exclusive style neither known before nor practiced later. These unique creations are neither familiar to general public nor art lovers. However, they form an important phase of Bengal art. Many research works have been conducted about different phases of Bengal art but Early Bengal Oil Painting remain less traveled and virgin area. Critical study of the techniques of the paintings is necessary for proper realization of the excellence of the paintings. A study of history of Bengal art reveal that folk art, Company painting and Kalighat paintings were executed in water colour. Artists of Early Bengal Oil Painting created new history by utilizing a new foreign medium of oil paint. The uniqueness of style, technique and social environment of the Early Bengal Oil Painting will be focused in this study. The gradual development of the technical aspects along with modifications of style of these paintings is presented in this book. The painters were untrained in using this new medium. Hence the conventional procedures of oil paintings were not followed. A unique technique developed where the materials and tools were also unconventional for oil paintings. This aspect has not been analyzed scientifically and systematically till date. This book is a novel venture in this aspect. Not only technique and skill of the painters underwent changes with time but style also was modified.

The Early Bengal Oil Painting flourished in the trading centers of Chandannagar, Chinsura, Kolkata, Nasipur and others. These places had both European settlements as well as congregation of Jaminders who traded with these Europeans. Before the advent of the British, the French had settled in Chandannagar and Chinsura had Dutch settlements. The Jaminders, influenced by European oil paintings patronized Early Bengal Oil Painting to decorate their residences and highlight their status in society. As they preferred traditional Indian theme, the Jaminders relied more on the Indian painters who included Darbari artists, local sutradhar, folk artists and patuas to execute their paintings utilizing the western medium of oil paint. Being not proficient with the techniques of oil medium, a unique style of execution developed. Moreover the traditional miniature style, Rajasthani influences and folk traditions reflected in the paintings. The Early Bengal Oil Paintings were executed between mid-18th century to late 19th century. So the paintings are now 150 to 200 years old. Natural signs of decay are evident in the paintings. The book has looked into the various aspects of technical, methodical and materials utilized in Early Bengal Oil Paintings. The various problems of Early Bengal Oil Painting in present condition are identified, like over paint, unethical restoration etc. Hence proper awareness about scientific techniques of conservation and restoration is necessary to save the paintings and related heritage for posterity. With the decline of the Jaminders (late 19th century) and change in socio-economic condition of the society this school of art lost its patronage. Hence the art declined. Besides Prints becoming available of the mythological subjects there was a decline in Early Bengal Oil Painting Simultaneously Art colleges were established and changed the scenario. As they were private collections so no historical documentation was done.

DR. KHOKON RAUT, Assistant Professor, Department of Visual Arts, University of Kalyani, West Bengal, was born in 1974, West Bengal, India. He has obtained a degree in Bachelor of Visual Art from Govt. College of Art & Craft, Kolkata with First Class 1997, and obtained Master in Visual Arts with First Class in 2000 from Rabindra Bharati has been awarded Ph.D. Degree from University of Kalyani in 2021. Previously worked at the rati University, Kolkata. He Restoration Unit of Victoria Memorial Hall, Kolkata and has enriching experience of restoration and conservation of National heritage of valuable art objects under National and International guidance from 2003 to 2012. He has received good number of Awards from different Institutions. He has also presented research papers in different seminars. Presented Research Papers on (1) "Science and Art in Conservation" (co-author) in the 46th IASC National Conference June 02-04, 2014 in Mumbai. Jointly organized by Indian Association for the Study of Conservation of Cultural Property, New Delhi and CSMVS Museum Art Conservation Centre, Mumbai. (2) "Restoration of Portrait of Desh Bandhu Chittaranjan Das Oil on Canvas-A Case Study" in the 43rd National Conference on Conservation of Modern and Contemporary Paintings' organized by IASC, New Delhi in association with Victoria Memorial Hall, at Rotary Sadan, Kolkata, 3rd-5th February, 2011. (3) "Restoration of Portrait in Oil on Asbestos Sheet" in the 39th National Conference Organized by N.R.L.C. Lucknow and Indian Association for Study of Conservation of cultural Property, New Delhi (14th to 16th Dec, 2006) at Mysore. Participated in. International 15th Triennial Conference organized by 'ICOM-Committee for Conservation' in New Delhi 22nd to 26th Sept, 2008. Besides he is a renowned artist and his paintings have been exhibited in different National and International Art exhibitions.