Similar to the central figure of A Hindoo Female, the subject of The Rajpootnee Bride is initially striking on account her size; the female body fills the space of the image. The image is not a portrait of a specific person, but instead gives a generic portrayal of a Rajput bride.
In this engraving, William Daniell draws on different elements of Indian mythology—accounts of holy banyan trees as well as images of yakshi, goddesses closely associated with the fertility of nature—to portray a woman fruit seller as occupying a potential site of sancitity.
In this engraving, which depicts a woman in relief against distant temple spires, William Daniell combines techniques of the picturesque with elements of erotic Indian art to produce an image that is at once a site of the sacred and of the profane.
During the Romantic period, India was one of Britain’s most prized colonies. From the establishment of the East India Trading Company in 1600 to the mid-nineteenth century, these two cultures were inextricably entwined as a result of the exchange of goods such as textiles, spices and crafts; this initially commercial exchange eventually facilitated and occurred alongside the exchange of ideas and people. This gallery is made up of images of India drawn by William Daniell and bound in his book, The Oriental Annual (London, 1834-40), and also includes miniature paintings done by Indian artists working in the Company style.
Dido in Despair! relays to the public the scandalous pregnancy of Lady Emma Hamilton by Admiral Horatio Nelson in a comical critique of the national figures' sexual licentiousness in general. It also makes a statement about the prominent definition of “high aesthetics” in romantic-era painting.
At the corner of Little Maddox Street and New Bond Street, a smirking and red-cheeked Lord Sandwich approaches from behind and fondles a young barrow woman selling carrots. The woman’s body is voluptuous and her toe points daintily to the ground as she looks back over her shoulder compliantly.
Mr H’s hams
