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Updated: May 1, 2025
"Oh, an' may the Man above grant that, I pray Jamini this day! for are not we harrished out of our lives, scrapin' an' scramblin' for the black thieves, what we ought to put on our backs, an' into our own mouths. When a lad from the humblest classes resolves to go to Munster as a poor scholar, there is but one course to be pursued in preparing his outfit.
Among the ballads thus intoned, the romance of Krishna is among the most common and the style of painting with its crude exuberance suggests the strength of popular devotion. There remains one last form of painting. During the twentieth century, the modern movement in Indian art has produced at least four major artists Rabindranath Tagore, Amrita Sher-Gil, Jamini Roy and George Keyt.
To Jamini Roy, the Bengali village with its sense of rude health is infinitely to be preferred to a city such as Calcutta with its artificiality and disease and in a style of bold simplifications, he has constantly celebrated the natural vigour and inherent dignity of simple unsophisticated men.
Of these four, the first two did not illustrate the Krishna theme. Jamini Roy, on the other hand, has often painted Krishna as flute-player and dancer. It would be unrealistic to suggest that these pictures spring from a lively sense of Krishna as God Jamini Roy has, in fact, resorted to themes of Christ with equal, if not greater, frequency but has shown no signs of becoming a Christian.
"I'm not angry that he didn't marry my daughther for I wouldn't give her to him now but I am at the slight he put an her." "Paddy Donovan, did you hear what I said jist now?" replied Phelim, "I wish to Jamini some people 'ud have sinse! Be them five crasses, I knew thim I intinded to marry, as well as I do where I'm standin'. That's plain talk, Paddy.
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