Relevant bibliographies by topics / Watercolor painting, Indic

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Academic literature on the topic 'Watercolor painting, Indic'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Watercolor painting, Indic"

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Kulikova, Elena Yu. "Vitaly Ryabinin’s “Japanese watercolors”: genre and stanza experiments." Sibirskiy filologicheskiy zhurnal, no. 3 (2021): 100–112. http://dx.doi.org/10.17223/18137083/76/8.

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“Exotic” themes, extremely popular in art at the turn of the 19th-20th centuries, craving for “foreign,” for extraordinary travels to Africa, India, the East, determined not only the properties of plot-motive complexes in literature, painting, and music but also the features of genre structure of the Silver Age works. In his microcycle “Japanese watercolors” from the poetic book “Melody-trill chords,” the poet V. Ryabinin operates with lyric genres (sonnet, romance) and stanza forms (sextins, hexameters). Stylized genres and stanzas reveal the author’s technique and show classic solid forms in
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Lowther, D. A. "The first painting of the red panda (Ailurus fulgens) in Europe? Natural history and artistic patronage in early nineteenth-century India." Archives of Natural History 48, no. 2 (2021): 368–76. http://dx.doi.org/10.3366/anh.2021.0728.

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Throughout the late eighteenth and early nineteenth centuries, British East India Company officials, based in the Indian subcontinent, amassed huge collections of natural history images. One of the largest collections, consisting of many thousands of individual paintings commissioned mainly from Indian artists between 1790 and 1823, was formed by Major-General Thomas Hardwicke. Some of these later formed the basis of John Edward Gray’s Illustrations of Indian zoology, but the vast majority remained unpublished. This paper focuses on one of these images, a detailed watercolour of the red panda
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Yadav, Vishal. "RELIGION IN THE COLOR SYSTEM UNDER BADRINATH ARYA." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3678.

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Indian modern art is considered to have started from the mid-19th century. When the English ruler decided to set up art colleges in Madras, Calcutta, Mumbai, Lahore and Lucknow to train Indian artists in European art. These art colleges hired English artists who painted using natural English method. During this time, Japanese artists Hidisa and Taikan came to Calcutta who trained the Wash system first in India to Avindranath Thakur and this is how the Wash system was born in India. When it comes to the Indian wash system, first comes the atmosphere of the Bengal School, by which trained artist
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Low, G. Carmichael, DOUGLAS DEWAR, T. H. NEWMAN, and G. A. LEVETT-YEATS. "29. A Classification Of The Original Watercolour Paintings Of Bids Of India By B. H. Hodgson, S. R. Tickell, And C. F. Sharpe In The Library Of The Zoological Society Of London." Proceedings of the Zoological Society of London 100, no. 3 (2009): 549–626. http://dx.doi.org/10.1111/j.1096-3642.1930.tb00991.x.

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Dickenson, Victoria. "Lady Gwillim and the birds of Madras." Notes and Records: the Royal Society Journal of the History of Science, September 28, 2022. http://dx.doi.org/10.1098/rsnr.2022.0029.

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In 1924 Casey Wood, founder of the Blacker Wood Library at McGill University in Montreal, acquired a large portfolio of paintings of Indian birds from an antiquarian dealer in London, England. In addition to 121 watercolours of birds, the portfolio contained a dozen botanical sketches and 31 watercolours of Indian fish. After further research, Wood concluded that the birds had been painted by Lady Elizabeth Gwillim (1763–1807), the wife of a Supreme Court justice in Madras (now Chennai), during the brief period from her arrival in 1801 until her death six years later. The bird paintings that s
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6

Dauber, Christine. "An Interview With Jon Cattapan." M/C Journal 5, no. 3 (2002). http://dx.doi.org/10.5204/mcj.1960.

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In The City Submerged the striking narratives of Cattapan's earlier Melbourne paintings are fragmented and set adrift, becoming tiny shards of archaeological evidence with no clear solution, no beginning, middle or end. Luminous blue green surfaces dissolve into pools of submarine light in these paintings; here there is no grounding in shadows, or alley-ways, only the flickering distortions of looking into water, whose depth is unknowable. The movement in the painting is continuous as a work in a state of flux, and within and across its shiny surfaces. Deborah Clarke "The Lost World a Tale of
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Books on the topic "Watercolor painting, Indic"

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author, Singh Kishore, Ghosh Nemai photographer, Art Alive Gallery, and Lalit Kala Akademi, eds. World of watercolours. Art Alive Gallery, 2017.

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2

Dhumal, Rini, 1948- author, artist, ed. Drawn to life: Sketchbooks of Rini Dhumal. Mapin Publishing Pvt. Ltd., 2015.

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Gallery, Vadehra Art, ed. Madhvi Parekh, exhibition of water colour: The centre and the periphery, 15th October 1999-6th Nove[m]ber 1999. Vadehra Art Gallery, 1999.

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museum, Victoria and Albert. Company paintings: Indian paintings of the British period. The Museum, 1992.

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(Gallery), Francesca Galloway. Treasures from India. Francesca Galloway, 2006.

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Murphy, Veronica. Tie-dyed textiles of India: Tradition and trade. Victoria and Albert Museum in association with Mapin Pub. Pvt., 1991.

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Rosemary, Crill, ed. Tie-dyed textiles of India: Tradition and trade. Rizzoli, 1991.

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Swaraj Art Archive (Noida, India), ed. Artists from afar: Paintings and watercolours of India by European artists 1780-1947. Swaraj Art Archive, 2018.

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Timothy, Hyman, ed. Amit Ambalal: The "unseen" drawings and watercolours. Archer, 2014.

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10

Lyrical journeys. Mon Art Gallery, 2011.

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Book chapters on the topic "Watercolor painting, Indic"

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Dias, Rosie. "Governing from the Country House: Landscape and the Aesthetics of Colonial Rule in India, 1780–1830." In Romantic Environmental Sensibility. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474456470.003.0006.

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Through the East India Company, an early prototype of the multinational corporation, mere employees could govern whole peoples and territories. The subject of this essay is the British expatriate to India in the advent of the Bengal famine of 1770, which resulted in the loss of millions of lives. Analysing the representations of the colonial country house in watercolour drawings and landscape paintings, it communicates how these colonial administrators repurposed a stewardship IDeal of landlordship to portray themselves as responsible managers living in harmony with the local people and local
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