With the arrival of photography in India in the mid-19th century, many Indian artists who had worked for generations in the Princely courts were forced to find new patronage in the European metropolitan settlements along the Hugli River. They adapted their old techniques to suit European taste – painting traditional scenes loosely based on the popular Hindu epics like the Ramayana and the Krishna legends – they used European perspective and oil paint. These paintings are often called Dutch Bengal or French Bengal because many were done in their respective settlements of Chinsura and Chandernagore. But other painters working in a similar style worked in the Garanhatar and Chitpur districts of Calcutta. None are signed, and the names of the artists are so far unknown. They were patronised mostly by the Hindu elites to decorate their opulent Rajbaris situated along the river. Some were acquired by European patrons and brought back to Europe.

In these two artworks, we see traditional scenes deeply rooted in Hindu mythology that hark back to miniature painting, but the use of shading and perspective appealed to Western sensibilities. They are true cross-cultural works with the combination of a European artistic style converging with traditional storytelling and piety. Our two paintings are among the most accomplished that have surfaced, with their vibrant palette and realistic approach to the landscape. The first of our paintings shows a Hindu Ascetic with a female attendant – such women were often of service to Saddhus, providing food and cleaning to the Ascetic, who had renounced his earthly responsibilities. In return, she received spiritual guidance. A scene with a female dressed in diaphanous and sensuous attire is particularly unusual in this genre. The second of our paintings represents a young prince or nobleman being served a sumptuous dinner by four female attendants – his life of ease and luxury is shown as a stark contrast to the life of the Ascetic.

By the early years of the 20th century, this brilliant but short-lived form of painting went into decline with the arrival of cheap prints and oleographs on similar themes. They had become widely available from the newly arrived European presses.

Charles Greig, 2026