India's connection with European art and artists dates back to the ancient Janapadas of the old world. Through bustling trade and maritime routes, India was both a recipient and a disseminator of foreign trade, art, and culture. This land has long intrigued explorers and conquerors with its mystique and opulence.

The "age of exploration" in the Orient led to the creation of European colonies across the globe, particularly in the East. Many European adventurers, traders, and missionaries journeyed to the Indian subcontinent during this era. From the 15th century onward, Europe was inundated with art that was meticulous and documentative, rich in detail yet often devoid of emotional depth.

In the early days of colonial rule, only a select few professional artists were permitted to visit India. Travel was regulated and costly, allowing only artists like William Hodges (1744–1797), John Zoffany (1733–1810), and the Daniell duo, Thomas (1749–1840) and William (1769–1837), to gain prominence.

However, the turn of the 19th century ushered in a new wave of artistic sensibilities. As power shifted from the East India Company to the British Crown, colonial India became more accessible. Artists began to explore beyond the well-trodden exotic scenes, delving into the daily life and streets of India, travelling extensively to capture remote locations with a renewed dedication.

This period and these artists have largely been overlooked until now. DAG’s new exhibition, "Destination India – Foreign Artists in India 1847–1947”, illuminates this often-forgotten chapter of art history. The exhibition provides a detailed yet surprisingly engaging view of India, presenting works with a distinctive colloquial and humanising tone. The focus on everyday life rather than grandiose exoticism invites a closer inspection of the colonial gaze.

The question of why this era has been neglected in art history can partially be answered by examining the 1982 Victoria and Albert Museum exhibition, "India Observed: India as Viewed by British Artists 1760–1860." The curators, including Mildred Archer, noted that by the late 19th century, photography had become the primary medium for exploring India, relegating painting to a hobby for British women and a few visiting professionals.

This shift toward photography overlooked an intriguing thematic change in art. Edward Lear, an early artist featured in "Destination India," wrote of his visit to the Taj Mahal, “What can I do here? Certainly not the architecture... Let the inhabitants of the world be divided into two classes—them as has seen the Taj Mahal; and them as hasn’t.” Lear’s focus on people and scenes around the monument rather than the grand architecture reflects a broader trend in this period’s artwork, which increasingly depicted ordinary life rather than colonial grandeur.

Cities like Lucknow, Kanpur, and Delhi became subjects of artistic interest, with watercolors and printmaking techniques gaining popularity for their ease of creation. "Destination India" not only highlights British artists but also includes European and Japanese artists, showcasing the medium's versatility and experimentation. For example, Charles Bartlett’s work, influenced by Japanese woodblock prints, and Hiroshi Yoshida’s fusion of Japanese aesthetics with Indian scenes illustrate this cross-cultural exchange.

American artist Edwin Lord Weeks depicted bustling marketplaces and street scenes, while Carlton Alfred Smith portrayed romanticized views of everyday life. Mortimer Menpes, an Adelaide-born artist, produced magnificent court scenes and street views from his travels. Maurice Bauer, a Dutch painter, captured vibrant street life and landscapes, inspiring numerous paintings over two decades.

These foreign artists also influenced Indian art practices. Italian painter Orlinto Ghilardi, who served as vice principal of the Government School of Art and Craft in Calcutta, mentored Abanindranath Tagore and facilitated the visit of Bengali artists to Rome. British artist John Griffiths, commissioned to copy the Ajanta murals, led his students in producing approximately 300 paintings of the caves.

"Destination India" offers a window into the common and overlooked, rather than the affluent and victorious. It sheds light on both the artists and subjects who have been forgotten by history.

"Destination India" is on view at DAG, Janpath Road, Windsor Placepwbet gaming, from July 13 to August 24, 2024.

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