ARTICLE
Khubiram–Gopilal
Subjects would pose for or provide photographs of themselves, from which the artists would cut out the faces and hands — typically shown joined in obeisance — and paste these into generic manorath templates. They would later carefully paint over the pasted parts to mask the difference between the two mediums, so that the final result appeared to be an original, highly detailed painting. It is unclear whether this was done with the knowledge and approval of customers, and it is also possible that, given the novelty of photography at the time in these parts, they were unable to identify the photocollage method used. Among other services, the studio also painted colour into black and white photographs.
Khubiram–Gopilal’s work with photography has garnered divided opinions. The photocollage method is hailed by some scholars as innovative for the time; while others — including some artists previously employed by the studio — have viewed it either simply as a time-saving trick or a form of duplicity.
Bibliography
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Bonhams. “Three Drawings by Khubiram Gopilal (1891–1970)”. Accessed December 27, 2023. https://www.bonhams.com/auctions/17823/lot/427/.
Gaskell, Nathaniel, and Diva Gujral. Photography in India: A Visual History from the 1850s to the Present. Prestel, 2018.
Goswamy, B. N. “In the Presence of the Lord.” The Tribune, December 9, 2019. Accessed December 26, 2023. https://www.tribuneindia.com/news/arts/in-the-presence-of-the-lord-3611.
Lyons, Tryna. The Artists of Nathadwara: The Practice of Painting in Rajasthan. Indiana University Press, 2004.
Museum of Art & Photography. “Manorath Painting: Khubiram Gopilal.” Google Arts & Culture. Accessed December 27, 2023. https://artsandculture.google.com/asset/manorath-painting-khubiram-gopilal/xwFsOgLqaUkKfQ?hl=en.
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