 |
|
|
Venue: Darbar Hall. Opened on : 21st January 2001
It was inaugurated on Saturday,
20th January 2001
by the British High Commissioner, Sir Rob Young in the presence
of
His Excellency Sri V. J. Shah, the then Governor of West Bengal.
|
|
|
'In this visible
world the being of the painter as the unique spectator was discovered:
This pure visible world and the joy of revealing it...'
Letter from Rabindranath
Tagore to Jamini Roy
|
|
|
|
This exhibition presents more than fifty
oil paintings from the collection of the Victoria Memorial Hall.
These have been conserved and restored over the past ten years
(before inauguration) through a collaborative project undertaken
with the Calcutta Tercentenary Trust, London. In the course of
this unique endeavour conservators from museums and institutions
in Britain, Europe and the USA came to work on the collection
in Calcutta, sharing their knowledge and experience with the
Victoria Memorial team of conservators and restorers.
The Victoria Memorial, founded in 1906
and opened in 1921, is renowned as one of India's greatest institutions
holding European art. The treasures of the collection are the
oil paintings on India painted between the years 1770 and 1835
by some of the mast distinguished European artists. The landscapes
and cityscapes, by Thomas and William Daniell, form the most
significant group of their work in the world, and those by William
Hodges, together with portraits and historical scenes by Tilly
Kettle, Johann Zoffany, James Wales and Thamas Hickey are among
these artists' finest achievements. The collection of works of
art on paper camplements the oil paintings and makes the Victoria
Memorial a remarkable centre for the appreciation and study of
the visual history of India. The restored paintings will soon
be on permanent display in refurbished galleries, and the rest
of the collection together with the works of art on paper will
be made accessible far study.
The Calcutta Tercentenary Trust was founded in 1989 to further
the conservation and understanding of European heritage in India.
The Trust has raised and contributed substantial funds to date
to support the restoration and training project in the Victoria
Memorial.
|
|
Some of the paintings are on online display. |
|
|
|
Johann Zoffany
Warren Hastings with his
Wife Marian in their Garden at, Alipore
circa 1784-7
Oil on canvas (C1311)
Warren Hastings, Governor General of
Bengal 1774-1785, commissioned Zoffany to prepare several portraits.
In contrast to the exuberant portrait of Marian Hastings, this
intimate conversation piece is tinged with sadness, as Hasting's
beloved wife was soon to leave for Europe. |
 |
|
|
|
|
|
Johann Zoffany
Colonel Polier, Claude
Martin and John Wombwell with the artist
circa 1786-7
Oil on canvas (R 2066)
Nawab Asaf ud-Daulah employed many Europeans
for the rebuilding of Lucknow, including Colonel Antoine Polier,
a Swiss engineer and architect to the court. Major-General Claude
Martin was a great patron of art and education in Lucknow , and
John Wombwell was Assay Master for the East India Company. While
the sitters are shown relaxing amidst Polier's collection of
paintings,sZoffany placed himself working at his easel in the
centre of the painting. |
|
|
|
|
William Hodges
View of the Esplanade,
Calcutta, from Garden Reach
circa 1785
Oil on canvas (R 2856)
William Hodges toured India extensively
between the years 1780 and 1783, having accompanied Captain Cook
on his second voyage to the Pacific. Hodges prepared drawings
and watercolours for his engravings, including 'Select views
of Calcutta'. This painting is the first topographical view of
the city, depicting the initial impression travellers would have
seen as they sailed up the river Hooghly to approach the `City
of Palaces'. |
 |
|
|
|
 |
Thomas Daniell
Mountain View in Garhwal
circa 1791
Oil on canvas (C 1000)
Removal of extensive over painting during
the restoration work revealed stylistic features characteristic
of the artist's work in North India 1790-1, rather than 1797
(back in England) as previously thought. The two figures in camp,
on the left side, depict the artist and his nephew, one of whom
is using a telescope to examine the distant mountain summit. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|