Jamini Roy (1887-1972)Untitled (Mother with Child & Woman)
signed 'Jamini Roy' in Bengali lower right
tempera on card, framed
60.2 x 42.9cm (23 11/16 x 16 7/8in).FootnotesProvenance
Property from a private collection, Pakistan.
Acquired from the artist;
Thence by descent.
'Mother with Child & Woman' exudes a sense of warmth and tenderness that is both timeless and universal. Roy's choice of subject, a mother holding her child, captures an intimate moment of nurturing and affection. Through his masterful use of clean lines and elemental forms, Roy transforms this scene into a visual hymn to the maternal bond. What makes this work unique however is the addition of the woman to the right of the mother and child, whose face and sari can be seen, and yet she is not the focal point of the work. She is perhaps an ayah, there to lend a helping hand.
The vivid colours, reductionist approach and elongated forms reminiscent of ancient Indian art that Roy is celebrated for is on full display in this composition. These tropes that are a hallmark of his works enable the viewers to focus on the emotional resonance of the scene. By removing superfluous details, Roy distils the narrative to its purest essence, inviting viewers to explore the depths of their own emotions and experiences. Through this reductionist approach, the painting becomes a canvas upon which each viewer can project their own personal connections to the theme of motherhood.
Jamini Roy (1887-1972)Untitled (Mother with Child & Woman)
signed 'Jamini Roy' in Bengali lower right
tempera on card, framed
60.2 x 42.9cm (23 11/16 x 16 7/8in).FootnotesProvenance
Property from a private collection, Pakistan.
Acquired from the artist;
Thence by descent.
'Mother with Child & Woman' exudes a sense of warmth and tenderness that is both timeless and universal. Roy's choice of subject, a mother holding her child, captures an intimate moment of nurturing and affection. Through his masterful use of clean lines and elemental forms, Roy transforms this scene into a visual hymn to the maternal bond. What makes this work unique however is the addition of the woman to the right of the mother and child, whose face and sari can be seen, and yet she is not the focal point of the work. She is perhaps an ayah, there to lend a helping hand.
The vivid colours, reductionist approach and elongated forms reminiscent of ancient Indian art that Roy is celebrated for is on full display in this composition. These tropes that are a hallmark of his works enable the viewers to focus on the emotional resonance of the scene. By removing superfluous details, Roy distils the narrative to its purest essence, inviting viewers to explore the depths of their own emotions and experiences. Through this reductionist approach, the painting becomes a canvas upon which each viewer can project their own personal connections to the theme of motherhood.
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