A Common Indian Night Jar (Caprimulgu asiaticus) India, Eighteenth Century

Background Information British patrons hired Indians to paint for them Prominent patrons included ◦ Lord Impey, Chief Justice of the High Court from ◦ Marquess Wellesley, governor-general from

Background Information Painters were trained at a Company School (kampani kalam) Specifically “Lucknow” School (Adwadh region of Northern India) Each region of India had its own distinct artistic syles Other major centers included Calcutta, Patna and Agra

Background Information These paintings were similar to Chinese porcelain produced for export Mostly about nature- flowers, trees, birds, fruits, animals, people, architecture and landscapes Many commissions were made by the British East India Company Employees wanted to bring back images of exotic finds as gifts or documentation

Artist Unknown Indian painter - not thought important enough by Europeans Commissioned by French collector, Claude Martin French military officer who became a Major General in the B.E.I C. Born 1735 died 1800 Moved to Lucknow, India in the 1770s Included this painting in an album of art by local artists

Subject A fairly common Indian bird; member of the nightjar family Trees and shrubs in the background

Subject Found in Lucknow, Adwadh region, India - not found in Europe Claimed by the British in 1856 Strong Mughal influence on the area Rich agricultural zone

Artistic Analysis Mixture of traditional Indian miniature paintings and European taste Artists had previously worked for the Mughal court and the painting reflects Mughal influence Great attention to detail; seen in feathers

Artistic Analysis Profile of bird shown Bird is brown, black and gray Casts a dark shadow Background much to small - scale not realistic, bird in extreme foreground Background very dull colored

Artistic Analysis Watercolor on paper instead of traditional gauche Original was notebook paper sized (H in x W in) Can be found in the Metropolitan Museum of Art

Function This type of painting is the 19 th century version of a photograph Replaced by photographs in 1840s Souvenirs Inexpensive

Function At time of production were valued as documentation not beauty Showed scientific view of needing to collect all information about flora and fauna Also the colonial need to assert control over colonies by possessing images of them Today recognized for skill and aesthetic appeal