Who painted Radha and Krishna-Kali?

Radha and Krishna-Kali was painted by Unknown in 1890.

Where can I see Radha and Krishna-Kali?

Radha and Krishna-Kali is held by Victoria and Albert Museum.

What movement is Radha and Krishna-Kali?

Radha and Krishna-Kali is associated with Impressionism.

Artwork

Radha and Krishna-Kali

Unknown , 1890

Radha and Krishna-Kali 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.

About this work

Overview

Created in 1890, this watercolor and tin‑alloy work on cardboard portrays a devotional scene in which Radha venerates a hybrid deity merging aspects of Krishna and the goddess Kali. The composition is rendered in the vivid, graphic manner characteristic of the Kalighat school of Indian religious painting.

Subject & Meaning

At the centre sits a blue‑skinned figure with a fierce expression, brandishing a curved sword and holding a small pot, attired in a striped red‑yellow skirt and a beaded necklace, poised upon a red lotus. Beneath, a smaller, green‑and‑yellow clothed figure kneels, its face conveying sorrow or concern, suggesting Radha’s humble supplication to the divine amalgam.

Technique & Style

The artist employed watercolor pigments combined with tin alloy accents, applied to a cardboard support. Bold outlines and saturated hues dominate the surface, hallmarks of the Kalighat tradition that emerged in 19th‑century Bengal. The use of flat color fields and simplified forms emphasizes narrative over naturalistic detail.

Context

Kalighat paintings originated as popular devotional prints sold near the Kalighat temple in Kolkata, catering to a broad public audience. By the late 1800s, artists began integrating syncretic iconography, such as the fusion of Krishna and Kali, reflecting evolving religious sentiments and the fluid boundaries of Hindu worship.

Legacy

Works like this illustrate the Kalighat school's role in democratizing religious imagery, bridging elite temple art and mass‑produced prints. The piece remains a valuable example of how 19th‑century Indian artists negotiated tradition and innovation through accessible visual language.