Thomas Daniell and his nephew William
36 years old Thomas Daniell and his nephew William, a lad of sixteen, sailed out from Gravesend in April 1785, destined for the East where they were to spend the next eight years. Of humble origins, they arrived in Calcutta via China early in seventeen eighty-six, looking for wealthy patrons, and to explore the sublime, the exotic and the picturesque country. Their spirit was symptomatic of the first stirring of the romantic movement of the time.
Some of the earliest glimpses of the city of Calcutta - its many new paladian building, roads and river ghats, temple and churches, and forms of transport old and new- are captured in Thomas Daniell's twelve coloured aquatints, Views of Calcutta. " The Lord be praised at length, I have completed my twelve views. The fatigue I have experienced... has almost worn me out. I am advised to make a trip of up the country...", wrote Thomas in November 1788.
A tour of India was a formidable undertaking in those days, but the two Daniells were undaunted. They covered the length and breadth of India in palanquins and bullock carts, on horseback, on foot and on boat, painting Oriental Scenery wherever they went.

The Daniells' magnificent views of Indian landscapes and antiquities in both oils and aquatint made an immediate impact on the British elite. Stylistically correct and conventional as they were, their magnitude and novelty charmed the romantically inclined for whom the Graeco-Roman culture was effete. Motifs were freely borrowed from Oriental Scenery to decorate wallpapers and ceramics, while the flamboyant domes and minarets of the Royal Pavilion extravaganza at Brighton were directly inspired by the Daniells' accurate depiction of Indian architecture. On the whole, their Oriental Scenery largely contributed to the British image of India as a land of romance and glory. Indeed, the Daniells have continued to feed the Raj nostalgia to this day.

The Victoria Memorial has the largest collection of the works by the two Daniells.
 Below are the Aquatints made by Thomas and William Daniell in the late eighteenth century.
Part of Chowringhee, Calcutta
 Dashasamedh Ghat at Benares, on the Ganges
 Eastern gate of the Jumha Musjid at Delhi (1795)
 Part of the city of Patna, on the river Ganges
 South-east view of Fort St. George, Madras
 Palace of Nawab Shuja-ud- -daula at Lucknow
 The Chitpore Road.
 Council House Street
 St. John's Church (1788) by T. Daniell
 The Mayor's Court and Writers' Building.
 Gobindaram Mitra's Temple.
 Old Court House Street.
 Riverside view of the Ganges.
 The Supreme Court
 Hindoo Temples at Brindabund on the river Jumna (1795)

Interior of the Palace Madura Plate XV from "Oriental Scenery " Published 1798
Pinnace Sailing Down the Ganges Past Monghyr Fort C1791 (Oil on Canvas)
The Taj Mahal at Agra from "Oriental Scenery: Twenty Four Views in Hindoostan" 1796
The Western Entrance of Shere Shah's Fort Delhi
A Baolee Near the Old City of Delhi Plate Xviii from Part 4 of 'Oriental Scenery' Pub 1802
Dasasvamedha Ghat Benares Uttar Pradesh C1788-89 (Coloured Aquatint)
Hindu Temple in the Fort of the Rohtas Bihar India (W/C on Paper)
The Armenian Bridge Madras From 'Oriental Scenery: Twenty Four Views in Hindoostan' engraved by
East View of the Forts Jellali and Merani Muskah Arabia June 1793
Main Entrance of the Jami Mosque Jaunpur 1789 (W/C over Graphite on Wove Paper)
Ruins of the Palace of Madra
View Taken on the Esplanade Calcutta Plate I from "Oriental Scenery" Published 1797
The Assembly Rooms on the Race Ground Near Madras Plate 37 from 'Oriental Scenery: Twenty Four…
Western Entrance of Fort St George Madras
Gate Leading to a Mosque Chunargarh Uttar Pradesh (Coloured Aquatint)
Ruins of the Ancient City of Gour Formerly on the Banks of the River Ganges from 'Oriental…
A Pagoda Engraved by Joseph Constantine Stadler (Fl1780-1812) Pub by Edward Orme (1774-C1820)…
View in the Fort Madura Plate 14 from Part 2 of 'Oriental Scenery' Engraved by the Artist and…
Sir Charles Warre Malet in 1790 Concluding a Treaty in Durbar with Souae Madarow
Sir Charles Warre Malet British Resident at Court of Poona in 1790 Concluding a Treaty in Durbar
Part of City of Patna on River Ganges from 'Oriental Scenery: Twenty Four Views in Hindoostan'
Chaunsath Khamba Nizamuddin New Delhi (Coloured Aquatint)
Whampoa Pagoda 1810 (Engraving)
The Rope Bridge at Serinagur C1800 (Oil on Canvas)
Temple Fountain and Cave in Sezincote Park 1819 (Oil on Canvas)
View of Some-Cheon on French Island Taken from Danes Island China 1793-94
The Earl Cornwallis C1786-94 (Pen and Ink and Wash on Paper)
Ruins on Pir Pihar Near Monghy Bihar 1790 (W/C over Graphite on Paper)
Indian Temple Said to Be the Mosque of Abo-Ul-Nabi Muttra 1827 (Oil on Canvas)
Jami Masjid Delhi 1811 (Oil on Canvas)
Ruins of the Naurattan Sasaram Bihar 1811 (Oil on Canvas)
Fakir's Rock at Sultanganj on the River Ganges India C1790 (W/C over Graphite on Paper)
Dasasvamedha Ghat Benares
Ramnurgur Near Benares on the River Ganges 1796
South East View of Fort St George From 'Oriental Scenery: Twenty Four Views in Hindoostan'
Fort of Trichinopoly From 'Oriental Scenery: Twenty Four Views in Hindoostan'
Ramnugur near Benares on River Ganges from 'Oriental Scenery: Twenty Four Views in Hindoostan'
Port of Cheringhee Calcutta Plate 32 from "Oriental Scenery: Twenty Four Views in Hindoostan"
View at Nijeibabad near the Coaduwar Gaut Rohilcund plate XIII from Part 6 of 'Oriental Scenery'
The Ruins of the Palace at Madurai 1798
The Writers' Buildings Calcutta
The Council House Calcutta Plate 29 from "Oriental Scenery: Twenty Four Views in Hindoostan"
The Government House Fort St George from Oriental Scenery: Twenty Four Views in Hindoostan 1798

No comments:

Post a Comment