Who painted Bhima and King Virata?

Bhima and King Virata was painted by Unknown in 1890.

Where can I see Bhima and King Virata?

Bhima and King Virata is held by Victoria and Albert Museum.

What movement is Bhima and King Virata?

Bhima and King Virata is associated with Impressionism.

Artwork

Bhima and King Virata

Unknown , 1890

Bhima and King Virata is a paint painting by the Impressionist artist Unknown. It dates from 1890 and is held in the collection of the Victoria and Albert Museum. Created around 1890, this work portrays the mythic hero Bhima in the role of a cook for King Virata.

About this work

Overview

Created around 1890, this work portrays the mythic hero Bhima in the role of a cook for King Virata. Executed in watercolour combined with tin alloy on paper, the composition is dominated by vivid reds, yellows and stark outlines that give the scene an immediate, graphic quality.

Subject & Meaning

The image draws from a episode of the Ramayana in which Bhima, concealed in the court of Virata, prepares food for the monarch. By presenting a powerful warrior in a humble domestic task, the painting highlights themes of disguise, duty and the fluidity of identity within the epic narrative.

Technique & Style

The piece follows the Kalighat school of 19th‑century Bengal, noted for rapid brushwork, flattened forms and a limited palette. The artist employed watercolour washes alongside tin alloy accents, producing bright colour fields and bold contour lines that align with the realist tendency to depict everyday moments without ornamental detail.

History & Provenance

Originating in the bustling artistic workshops of colonial Calcutta, the work reflects a period when Bengali painters merged traditional folk aesthetics with new commercial demands. Though the exact creator is unknown, the painting exemplifies the output of Kalighat artisans who supplied prints and paintings for a growing urban market.

Context

Produced during British rule, the artwork participates in a broader cultural dialogue wherein local artists used familiar mythological subjects to negotiate questions of history and identity. By re‑imagining a classic tale in a contemporary visual language, the painting serves as a visual commentary on the intersection of tradition and colonial modernity.