Who painted Durga and Ganesha?

Durga and Ganesha was painted by Unknown in 1850.

Where can I see Durga and Ganesha?

Durga and Ganesha is held by Victoria and Albert Museum.

What movement is Durga and Ganesha?

Durga and Ganesha is associated with Impressionism.

Artwork

Durga and Ganesha

Unknown , 1850

Durga and Ganesha is a paint painting by the Impressionist artist Unknown. It dates from 1850 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

This watercolor on paper, dated to 1850, portrays the Hindu deities Durga and Ganesha. The composition features a four‑armed female figure seated on a lion, cradling an infant and holding a small object, rendered in vivid reds and yellows against a subtly hinted background. The work includes tin‑alloy embellishments and is catalogued under reference RP 51/2237.

Subject & Meaning

The central figure represents Durga, a warrior goddess, whose multiple arms convey divine power and the ability to perform many tasks simultaneously. She is shown with a child, identifying Ganesha, the remover of obstacles. The lion beneath her serves as a traditional emblem of strength and protection in Indian iconography.

Technique & Style

Executed in watercolor, the painting employs delicate washes to achieve luminous skin tones and richly saturated garments. Tin‑alloy details add a tactile dimension, highlighting the golden headpiece and ornamental accents. The faint, ghost‑like outlines in the background suggest additional divine presences, a common compositional device in 19th‑century Indian art.

History & Provenance

The piece entered the Department of Prints and Drawings in 1889 after being purchased from the dealer G. Wild. Since its acquisition, it has been retained in the museum’s collection, identified by the accession number RP 51/2237, and serves as a documented example of mid‑19th‑century Indian watercolor practice.

Context

Created during a period when Indian artists were increasingly engaging with European print and paper media, the work reflects a synthesis of traditional iconography and the watercolor techniques introduced by colonial artistic exchanges. Such hybrid works illustrate the cross‑cultural dialogues shaping visual culture in the subcontinent at that time.