Who painted Krishna Standing by Radha who is Seated on a Chair?

Krishna Standing by Radha who is Seated on a Chair was painted by Unknown in 1890.

Where can I see Krishna Standing by Radha who is Seated on a Chair?

Krishna Standing by Radha who is Seated on a Chair is held by Cleveland Museum of Art.

What movement is Krishna Standing by Radha who is Seated on a Chair?

Krishna Standing by Radha who is Seated on a Chair is associated with Bengal School.

Artwork

Krishna Standing by Radha who is Seated on a Chair

Unknown , 1890

Krishna Standing by Radha who is Seated on a Chair is an unspecified painting by the Bengal School artist Unknown. It dates from 1890 and is held in the collection of the Cleveland Museum of Art. The work depicts three figures rendered in vivid, flat tones.

Accession no.: 2003.155
Credit line: Gift of William E. Ward in memory of his wife, Evelyn Svec Ward

About this work

Overview

The work depicts three figures rendered in vivid, flat tones. At the centre, a seated individual in a red skirt and black blouse, adorned with gold ornaments, holds a fan beneath a red umbrella. To the left, a dark‑skinned figure in yellow stands, grasping a circular object. On the right, a woman dressed in purple and green sits, her gaze directed downward.

Subject & Meaning

The central figure’s elaborate jewelry and protective umbrella suggest a person of high status, possibly a deity or revered individual. The presence of a fan and the seated posture convey a sense of composure, while the standing figure’s round object may be a symbolic offering or ritual implement, and the seated woman’s contemplative pose adds a narrative of devotion.

Technique & Style

Executed in bright, flat color fields, the painting employs a decorative approach characteristic of regional Indian folk traditions. The simplified forms, bold outlines, and lack of perspective align with the aesthetic of the Kalighat school, which favored narrative clarity over naturalistic depth.

History & Provenance

The visual language and compositional choices point to an origin in the Kalighat region of Bengal, a centre for popular painting in the 19th and early 20th centuries. Works from this milieu were often produced for local patrons and religious contexts, though specific ownership details for this piece are not recorded.

Context

Kalighat paintings emerged as a response to urbanization and the rise of a middle‑class market for affordable devotional art. Artists blended traditional iconography with contemporary motifs, creating works that were both accessible and spiritually resonant for everyday viewers.