Empire Podcast Episode 225 Summary: "Painting the Empire: Art of the East India Company"

In Episode 225 of Empire, hosts Anita Anand and William Dalrymple delve into the fascinating intersection of art and colonialism through the lens of the East India Company's artistic endeavors. Titled "Painting the Empire: Art of the East India Company," the episode explores how the Company's commercial ambitions spurred a unique hybrid art form known as Company School painting, blending diverse Indian artistic traditions with European scientific precision.

1. Introduction to Company School Painting

Anita Anand and William Dalrymple kick off the discussion by unraveling the concept of Company School painting—an art form that emerged from the East India Company's desire to document the flora and fauna of India for commercial trade.

Anita Anand [05:12]:

"The term Company school painting does it a disservice because it makes it sound like it's sort of, you know, produced by the East India Company. And what actually is happening is something much more interesting in the process of trying to find commercially viable plants to sell."

This form of art was not merely about aesthetic expression but served a utilitarian purpose, documenting species like opium poppies and rubber plants that held significant commercial value.

2. Recruitment and Diverse Artistic Styles

The East India Company sourced artists from various Indian regions, each bringing their unique styles to the table. This recruitment strategy resulted in a rich tapestry of artistic expressions within Company School painting.

William Dalrymple [08:03]:

"There are different styles. We've talked about the Mughal style, but there is also a Punjabi style, a Bahari style... the Company doesn't just draw from those Mansoor School painters. They go and they seek out all the styles, don't they?"

Anand elaborates on the diversity, highlighting how artists from Lucknow, Delhi, and the coastal regions like Andhra Pradesh contributed distinct styles—ranging from the meticulous Mughal representational techniques to the imaginative, scroll-infused patterns of Andhra's textile painters.

3. Democratization of Art in Colonial Context

One of the most intriguing aspects discussed is how the East India Company's utilitarian approach democratized art production. By valuing skill over social status, the Company employed artists from various backgrounds, including those from marginalized communities.

Anita Anand [09:35]:

"If these guys are capable of producing good likenesses of the plants or botany or the animal specimens which they're meant to be painting, then they're employed."

This inclusive approach allowed for a vibrant and diverse range of artworks, as artists from different caste and class backgrounds contributed their unique perspectives and techniques.

4. Exhibitions and Curation of Company Paintings

Anita Anand shares her experiences curating exhibitions that spotlighted Company School paintings, emphasizing the importance of recognizing individual artists rather than grouping works solely by regional styles.

Anita Anand [11:25]:

"We worked out these extraordinary relationships between painters, who were often trained to paint grand court scenes... and here they are, later in their lives, being hired by the East India Company to paint usually botanical scenes."

Her exhibitions, such as "Forgotten Masters" at the Wallace Collection, aimed to humanize these artists, providing biographical contexts and acknowledging their individual contributions to this unique art form.

5. Key Figures: Claude Martin and Zoffany the Cannibal Painter

The episode spotlights several intriguing personalities who played pivotal roles in the development of Company School painting.

Claude Martin: The Visionary Patron

Claude Martin emerges as a central figure—an enlightened patron who not only financed but also actively shaped the artistic output of the East India Company in Lucknow.

Anita Anand [25:16]:

"Claude Martin is famous today because he set up two schools which still exist, the La Martiniere schools, a very posh school."

Martin's dedication extended beyond patronage; he imported European techniques and materials, such as 17,000 sheets of European watercolor paper, fostering a fusion of styles that defined Company School painting.

Zoffany: The Cannibal Painter

A particularly dark yet captivating story involves Gottfried Wilhelm Zoffany, a royal academician and painter rumored to have engaged in cannibalism.

Anita Anand [21:55]:

"Zoffany is part of this extraordinary circle of Brits and Europeans... he is shipwrecked on the way home... in order to survive, they end up eating a second lieutenant."

This gruesome tale highlights the extreme circumstances faced by European artists in India and underscores the complex, often dark narratives intertwined with colonial art history.

6. Claude Martin's Legacy and Innovations

Anita Anand delves deeper into Claude Martin's contributions, portraying him as a Renaissance man whose eclectic interests and scientific curiosity drove significant advancements in Company School painting.

Anita Anand [28:38]:

"Claude Martin was born in Lyon in 1735... in Lucknow, he makes a fortune providing all the luxuries to the nawabs that they want... he removes his own appendix using a scientific journal out of Paris."

Martin's establishment of the La Martiniere school served as a hub for artistic training and intellectual exchange, bridging European Enlightenment ideals with Indian artistic traditions.

7. Discoveries in the Kew Archives

A monumental discovery discussed in the episode involved Anita Anand's collaboration with art historian Henry Nolte, unearthing thousands of previously uncataloged drawings in the Kew Archives.

Anita Anand [37:07]:

"He found in the Kew collection... 658 drawings of birds by Claude Martin, which were associated with 600-00 of plants and 606 of reptiles."

This treasure trove not only enriches our understanding of Company School painting but also emphasizes the importance of meticulous archival work in uncovering hidden facets of colonial art history.

8. The Artistic Flourishing of Lucknow

Lucknow's role as a cultural epicenter during the late 1700s is highlighted, drawing parallels to modern artistic hubs like Hollywood. The city's patronage, led by figures like Claude Martin, attracted a plethora of artists, fostering an environment of creative flourishing.

William Dalrymple [14:58]:

"Lucknow at this time in the late 1700s was at the height of the Golden Age... an artist magnet."

This vibrant cultural milieu facilitated cross-cultural exchanges, resulting in art that was both scientifically precise and artistically rich.

Conclusion and Teaser for Next Episode

As the episode concludes, Anita Anand and William Dalrymple hint at further explorations into the botanical aspects of Company School painting and introduce guests who will continue unraveling the intricate narratives of art and empire.

Anita Anand [29:35]:

"This is where the story truly begins... our next episode will delve deeper into the plant aspects of Company School painting."

Listeners are encouraged to join the Empire Club for additional resources, exclusive content, and community engagement, ensuring a comprehensive and immersive learning experience.

Notable Quotes:

• Anita Anand [05:12]:

  "The term Company school painting does it a disservice because it makes it sound like it's sort of, you know, produced by the East India Company."

• William Dalrymple [08:03]:

  "There are different styles. We've talked about the Mughal style, but there is also a Punjabi style, a Bahari style..."

• Anita Anand [09:35]:

  "If these guys are capable of producing good likenesses of the plants or botany or the animal specimens which they're meant to be painting, then they're employed."

• William Dalrymple [14:58]:

  "Lucknow at this time in the late 1700s was at the height of the Golden Age... an artist magnet."

• Anita Anand [21:55]:

  "Zoffany is part of this extraordinary circle of Brits and Europeans... he is shipwrecked on the way home... in order to survive, they end up eating a second lieutenant."

Final Thoughts

Episode 225 of Empire offers a compelling exploration of how the East India Company's commercial motives inadvertently fostered a rich and diverse artistic tradition. Through detailed narratives and vivid storytelling, Anita Anand and William Dalrymple shed light on the intricate connections between art, commerce, and colonialism, revealing the profound impact of Company School painting on both Indian and European art histories.