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Lot 6

 

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Ramgopal Vijaivargiya's paintings demonstrate traits that were characteristic of the Bengal School of painting, but retain a strong, personal style. He remained wholly unattached to any specific school of Indian art.

In The Art of Vijaivargiya, published in 1935, Ram Chandra Tandan wrote that as a student of Hindu mythology, Vijaivargiya had a "strong individualistic sense." His themes "have a wide range, grading from the... Ramgopal Vijaivargiya's paintings demonstrate traits that were characteristic of the Bengal School of painting, but retain a strong, personal style. He remained wholly unattached to any specific school of Indian art.

In The Art of Vijaivargiya, published in 1935, Ram Chandra Tandan wrote that as a student of Hindu mythology, Vijaivargiya had a "strong individualistic sense." His themes "have a wide range, grading from the spiritual at one end to the almost erotic at the other, all characterised in their execution by a certain suppleness and grace of lines." (R C Tandan, The Art of Vijaivargiya, Allahabad: Allahabad Block Works, 1935, p. 4) The following three lots contain the graceful lines and allusions to miniature painting and mythology for which Vijaivargiya's work is acclaimed.

The artist was only 30 when the book was published, and he had sold nearly 1000 paintings in the small space of the Indian art world by then. Tandan noticed his talent and printed an album of a few select works for the Hindustani Academy in Allahabad, which were later displayed at exhibitions in Calcutta and Bombay. He wrote: "The Art of Vijaivargiya is noteworthy not only because of its actual achievement, which is considerable, but also because of its great promise: for the artist is still young and full of confidence in himself." (Tandan, p. 4)

Vijaivargiya later headed the Rajasthan Kala Mandir and Rajasthan School of Art from 1945 to 1966, and went on to win several state and national awards.

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