Jamini Roy was born in the village of Beliatore, Bengal Presidency, British Raj, on April 11th, in 1887, he was surrounded by the rich tapestry of rural life. From a young age, he was exposed to the vibrant world of traditional crafts – potters shaping clay, weavers creating intricate textiles, and the iconic terracotta horses – all leaving an indelible mark on his artistic sensibilities.
At sixteen, Jamini enrolled at the prestigious Government College of Art in Kolkata (1903).
Abanindranath Tagore, a leading figure of the Bengal School of Art, held a position there. However, Jamini found the rigid, Western-oriented techniques stifling. A turning point came in the form of a lecture by the poet Rabindranath Tagore in 1912. Principal E.B. Havell’s influence, along with Tagore’s, Roy found his own path to explore.
Rabindranath’s call for artists to seek inspiration from their own heritage resonated deeply with Jamini, setting him on a path of artistic rediscovery.
While initially drawn to impressionist landscapes and portraits, Jamini’s true calling lay elsewhere. Between 1921 and 1924, he embarked on a period of experimentation, captivated by the energy and simplicity of Bengali folk art. The Santhal dance, a vibrant tribal performance, became his muse, marking a significant shift in his style.
Jamini’s artistic rebellion involved a conscious rejection of Western aesthetics. He embraced bold outlines, flat perspectives, and a vibrant color palette reminiscent of the “patuas,” traditional Bengali scroll paintings. His subjects were drawn from the everyday life of the common people – village women, farmers, wandering musicians, and deities from Hindu mythology.
One of Jamini’s most significant contributions was his unwavering commitment to making art accessible. Unlike his contemporaries who catered to the elite, Jamini used readily available materials like lamp black, earth pigments, and tempera on cloth and even wood. He believed art should not be confined to museums but should permeate the lives of ordinary people.
Jamini’s dedication and artistic evolution did not go unnoticed. In 1934, he received a Viceroy’s gold medal in an all-India exhibition, a significant recognition of his talent. His popularity soared in the 1940s, attracting both the Bengali middle class and European collectors. International exhibitions followed, showcasing his work in London (1946) and New York (1953).
In 1954, the Indian government bestowed upon him the prestigious Padma Bhushan award, acknowledging his immense contribution to Indian art. He was also conferred the Fellowship of the Lalit Kala Akademi in 1956, solidifying his position as a national treasure.
Throughout his life, Jamini remained true to his artistic vision. He even preferred to be called a “Patua,” a testament to his deep reverence for the folk art tradition that had shaped him. Despite his prolific output, estimated to be over 20,000 works, Jamini never compromised on his artistic integrity.
He breathed his last in 1972, on April 24 in Kolkata.
Jamini Roy’s legacy lies in his pioneering role in bridging the gap between Western-influenced art and indigenous Indian traditions. He democratized art, making it accessible to the masses. His vibrant canvases continue to celebrate the beauty and simplicity of rural life, serving as a powerful reminder of India’s rich artistic heritage. Jamini Roy’s legacy lies in his pioneering role in bridging the gap between Western-influenced art and indigenous Indian traditions.
