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Updated: May 7, 2025
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.
In 1947, he published the translation of the Gita Govinda, excerpts from which have been quoted in the text, and throughout his career his work has been distinguished by a poet's delight in feminine form and sensuous rapture. To Keyt such a delight is a vital component of adult minds and in the romance of Radha and Krishna he found a subject subtly expressive of his own most intimate beliefs.
The Gita Govinda was one of the first Sanskrit poems to be rendered into English Sir William Jones publishing a mellifluous version in Asiatick Researches in 1792. Later in the nineteenth century it was translated into Victorian verse by Sir Edwin Arnold. The present translation from which all the extracts are taken is by George Keyt, the foremost modern artist of Ceylon.
Such pictures stress a comparatively unimportant side of Krishna's character and it is rather in the paintings of George Keyt that Krishna the lover is proudly portrayed. Born in Ceylon of mixed ancestry, Keyt has, for many years, been acutely responsive to Indian poetry.
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