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The courts of the princely states of India were an important draw for European artists due to their patronage of the visual and performing arts. For Indian artists, this Western influence, largely a result of colonialism, was viewed as "a means for self-improvement", and these Western academic artists who visited India provided the model. [50]
The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art, ISBN 0300062176; Harsha V. Dehejia, The Advaita of Art (Delhi: Motilal Banarsidass, 2000, ISBN 81-208-1389-8), p. 97; Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts (New Delhi: Sangeet Natak Akademi, 1977), p. 8
Abdul Kadar Khatri (1961 - 2019) Indian Master Craftsman; Aditya Pande (born 1976), painter, sculptor, digital artist; Aman Singh Gulati (born 2000),World's First Almond Artist; Anil Kumar Dutta (1933-2006) Anjolie Ela Menon (born 1940), painter; Anurag Anand (born 1978), visual artist and author; Amitabh Mitra (born 1955) Chitra Ramanathan ...
The Warli tribe is one of the largest in India, located outside Mumbai. Till the 1970s, even though the tribal style of art is thought to date back as early as 10th century C.E. [ 1 ] The Warli culture is centered on the concept of Mother Nature and elements of nature are often focal points depicted in Warli painting.
Raja Ravi Varma (Malayalam: [ɾaːdʒaː ɾɐʋi ʋɐrm(ː)ɐ]) (29 April 1848 – 2 October 1906 [3] [4]) was an Indian painter and artist.His works are one of the best examples of the fusion of European academic art with a purely Indian sensibility and iconography.
The ancient painters in Mysore prepared their own materials. The colours were from natural sources and were of vegetable or mineral substances such as leaves, stones and flowers. Brushes were made with squirrel hairs for delicate work, but for drawing superfine lines, a brush made of pointed blades of a special variety of grass had to be used.
An Ortta is also called kandholi (wall) in Punjabi where women would paint drawings. [24] According to Mitawa (2004), the wall would be plastered with coloured clay and then drawn upon using white clay to draw flowers, peacocks and birds. [25] Kehal (2006) notes that shrubs, borders and children's pictures are also drawn on the walls. [26]
Stella Kramrisch has defended the inclusion of these paintings in the Philadelphia Museum’s collection, in her exhibition Unknown India, by drawing successful parallels between Kalighat and major modernist painters. She states: “Kalighat paintings…and brush drawings are monumental in their presentation on an otherwise mostly blank page.